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The women in prison film (or WiP film) is a subgenre of exploitation film that began in the early 20th century and continues to the present day. [1]Their stories feature imprisoned women who are subjected to sexual and physical abuse, typically by sadistic male or female prison wardens, guards and other inmates.
Women's Prison is a 1955 American film noir crime film directed by Lewis Seiler and starring Ida Lupino, Jan Sterling, Cleo Moore, Audrey Totter, Phyllis Thaxter and Howard Duff. [1] The film is noted today for the appearance of Moore, and for Lupino's performance as the aggressively cruel warden.
Women in Cages; Women in Cell Block 7; Women in Cellblock 9; Women in Chains; Women of Devil's Island; Women Prison; Women Without Men (1956 film) Women Without Names (1940 film) Women's Prison (1955 film) Women's Prison Massacre
Girls in Prison is a 1956 American sexploitation women in prison drama film about a young woman who is convicted of being an accomplice to a bank robbery and is sent to an all-female prison. The film was directed by Edward L. Cahn , and stars Richard Denning , Joan Taylor , and Mae Marsh .
Additional discussion related to this cleanup effort can be found at Talk:List of prison films#Post-rescope content cleanup. ( August 2021 ) This is a list of prison films — films which are primarily concerned with prison life or prison escape or have at least one memorable prison scene.
The Big Bird Cage is a 1972 American exploitation film of the "women in prison" subgenre. [1] It serves as a non-sequel follow-up to the 1971 film The Big Doll House.The film was written and directed by Jack Hill, and stars Pam Grier, Sid Haig, Anitra Ford, and Carol Speed.
She is then apprehended and taken to the clinic. Outside, the inmates are picking apples where Maggie fakes a medical accident. She assaults an officer and steals a prison transport truck where Jacqueline hitches in. They take the truck to an auto repair shop, where the mechanic helps the women to escape after an officer spots the truck.
The Los Angeles Times called it "your typically, lurid, brutal women's prison exploitation icture cranked a coupe of notches above the usual, thanks to some verse, vivid acting under Bruce Logan's dynamic direction." [2] The Evening Sun said "it would be best to check all reason at the door." [3]
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