List of film and television accidents. This is intended to be a list of notable accidents that occurred during the shooting of films and television, such as cast or crew fatalities or serious accidents that plagued production. It is not intended to be a list of every minor injury an actor or stuntman suffered during filming.

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Stuntwork accounts for over half of all film- related injuries, with an average of five deaths for every 2,0. On July 1, 1. 91. Canon City, Colorado, cast member Grace Mc. Hugh was filming a scene where her character was crossing the Arkansas River in a boat. When the boat capsized, camera operator Owen Carter immediately jumped into the river to save her.

He dragged her onto a sandbar that was actually quicksand. The rest of the film crew watched helplessly as they were sucked into the quicksand and drowned.

Future film director Erich Von Stroheim fell off a roof and broke two ribs in one scene as an extra. Silent era star Wallace Reid was badly injured in a train crash during filming in Oregon. His injuries caused him severe pain and the studio supplied him with increasing quantities of morphine so he could keep working. Addicted to morphine and also suffering from alcoholism, Reid died in 1. On the set of a publicity shoot that took place while filming, actor and comedian Harold Lloyd picked up what he thought was a prop bomb with the fuse lit but realized too late the bomb was real. It detonated, blowing off the thumb and first finger of his right hand and also temporarily blinding him.

For the rest of his career, Lloyd concealed his missing fingers with a prosthetic glove. Pilots Milton Elliott and Ormer Locklear were killed on 2 August 1. Their plane crashed at the De. Mille Airfield, along Wilshire Blvd. Actress Barbara La Marr injured her ankle during filming and doctors prescribed not only morphine but also cocaine to control the pain and enable her to continue filming.

Working on the production left La Marr addicted to drugs, a factor that contributed to her premature death three years later. While hanging from a water tower, Buster Keaton pulled a rope that released water from the tower, knocking him to the ground. In the scene, he stood and ran into the distance.

During a routine physical examination 1. X- ray revealed that Keaton had fractured his neck. On 2. 9 November 1. San Antonio, Texas, Martha Mansfield was severely burned when a match, tossed by a cast member, ignited her Civil War costume of hoopskirts and flimsy ruffles. Mansfield was playing the role of Agatha Warren and had just finished her scenes and retired to a car when her clothing burst into flames. Her neck and face were saved when leading man Wilfred Lytell threw his heavy overcoat over her. The chauffeur of Mansfield's car was burned badly on his hands while trying to remove the burning clothing from the actress.

The fire was put out, but she sustained substantial burns to her body and died the following day. An early filming attempt of the chariot race was done on location at the Circus Maximus in Rome. It brought about the death of one stunt man when a wheel of his chariot broke.

During filming of the epic black comedy in Oregon, there were a number of incidents. Several National Guardsmen, employed as extras for the Civil War battle scenes, were injured by mishaps caused by misfired muskets or explosions. Director and star Buster Keaton was knocked unconscious when he stood too close to a cannon firing.

Assistant director Harry Barnes was accidentally hit in the face by a blank charge. Train brakeman Fred Lowry sued the production for US$2,9. During filming of the World War I aerial combat scenes, stunt pilot Dick Grace was required to deliberately crash- land a Fokker D- VII, specially modified to . When the Fokker struck the ground, the landing gear failed to crumple, making the impact a heavier one than planned.

This caused Grace's safety straps to break, sending his head through the instrument panel, leaving him with four crushed vertebrae and a broken neck. Amazingly, Grace spent only six weeks in the hospital and was back performing stunt work within a year. Three people died, one man lost a leg and a number were injured in a scene where several hundred extras were caught in the . During aerial scouting for locations, an aircraft crashed, killing cameraman Alvin Knechtel and actor and stunt pilot William Hauber. Strongheart, the famed German Shepherd film star, was burned after accidentally coming into contact with a hot studio light. The burn became tumorous, eventually leading to his death later that year. Three pilots were killed during the filming.

He was ready to bail out and called back to his mechanic Phil Jones (who was in the rear of the plane dumping lampblack to simulate smoke) to jump, but he didn't hear him and went down with the plane. Only one brief shot of the spinning Sikorsky was used in the film. During aerial filming off the coast of Southern California near Santa Monica on 2 January 1.

Stinson Detroiter aircraft, employed as camera- planes, collided over the ocean. All ten men on board the two planes were killed, including director Kenneth Hawks (brother of Howard Hawks), assistant- director Max Gold, cinematographer Conrad Wells, director of photography George Eastman, cameramen Otto Jordan and Ben Frankel, two property men and both pilots.

Only five bodies were recovered. As it was one of the final scenes to be filmed, the movie was still completed on schedule. Families of the men who were lost took legal action against Fox Film Company but the courts ruled in favour of the latter. After completion of filming in Canada, producer, co- director and real- life adventurer Varick Frissell decided that more footage of the Labrador ice floes was required. He and a small film crew joined the real ship The Viking on a seal- hunting voyage in order to obtain the footage he wanted. On 1. 5 March, the ship became trapped in ice near Horse Isles and dynamite stored on board (intended for breaking up ice floes) accidentally detonated, destroying the vessel and killing 2.

Frissell and cameraman Alexander Penrod. During filming in high temperatures in Buttercup Valley near Yuma, Arizona, Director John Ford insisted his cast and crew only work in the early mornings and late afternoons to avoid the most intense heat of each day. Under pressure from RKO to speed up filming, Producer Cliff Reid insisted that the midday break be shortened. Ford refused, believing that many of the crew would be at risk of heatstroke in the 1. Reid tried to prove his point by walking around in the open in the midday heat and soon collapsed with heat exhaustion, requiring hospital treatment.

During the filming of the charge sequence, a stuntman was killed when he fell off his horse and landed on a broken sword that was lying on the field, unfortunately wedged in such a position that its blade was sticking straight up. Also, due to the use of trip wires, three dozen horses had their legs broken and had to be shot during filming, resulting in the U. S. Congress passing laws to protect animals used in motion pictures. A horse was killed during the scene where it was ridden off a cliff into a river. This incident led to the American Humane Association opening a Hollywood office in 1.

Margaret Hamilton was badly burned during a scene in which her character, the Wicked Witch of the West, . A delay in activating a trap door left her exposed to the pyrotechnic device. While filming, Orson Welles tripped down a staircase and chipped his anklebone, forcing him to use a wheelchair for the next two weeks. Welles also injured his hand during a scene where he destroyed a room. An anti- British propaganda film made by the Germans. During the epic final battle scene, several extras were killed when one of them stepped on a live land mine. The footage is said to have been included in the release prints, although no proof of this has been established.

Exploitation film - Wikipedia. An exploitation film is a film that attempts to succeed financially by exploiting current trends, niche genres, or lurid content.

Exploitation films are generally low- quality . Some of these films, such as Night of the Living Dead (1. History. The Motion Picture Association of America (and the Motion Picture Producers and Distributors of America before it) cooperated with censorship boards and grassroots organizations in the hope of preserving the image of a . Since the 1. 99. 0s, this genre has also received attention in academic circles, where it is sometimes called paracinema. Titillating material and artistic content often coexist, as demonstrated by the fact that art films that failed to pass the Hays Code were often shown in the same grindhouses as exploitation films. Exploitation films share the fearlessness of acclaimed transgressive European directors such as Derek Jarman, Luis Bu. Many films recognized as classics contain levels of sex, violence, and shock typically associated with exploitation films; examples are Stanley Kubrick's A Clockwork Orange, Tod Browning's Freaks, and Roman Polanski's Repulsion.

It has been suggested that if Carnival of Souls had been made in Europe, it would be considered an art film, while if Eyes Without a Face had been made in the U. S., it would have been categorized as a low- budget horror film. The audiences of art and exploitation film are both considered to have tastes that reject the mainstream Hollywood offerings.

Child Bride (1. 93. Ozarks. Other issues, such as drug use in films like Reefer Madness (1. With enough incentive, however, major studios might become involved, as Warner Bros. The film Sex Madness (1. Mom and Dad, a 1. She Shoulda Said No!

In the early days of film, when exploitation films relied on such sensational subjects as these, they had to present them from a very conservative moral viewpoint to avoid censorship, as movies then were not considered to enjoy First Amendment protection. When Orson Welles' radio production of The War of the Worlds from The Mercury Theatre on the Air for Halloween in 1. Americans and made news, Universal Pictures edited their serial Flash Gordon's Trip to Mars into a short feature called Mars Attacks the World for release in November of that year. Some Poverty Row low- budget B movies often exploit major studio projects. Their rapid production schedule allows them to take advantage of publicity attached to major studio films. For example, Edward L. Alperson produced William Cameron Menzies' film Invaders from Mars to beat Paramount Pictures' production of director George Pal's The War of the Worlds to the cinemas, and Pal's The Time Machine was beaten to the cinemas by Edgar G.

Ulmer's film Beyond the Time Barrier. As a result, many major studios, producers, and stars keep their projects secret. Grindhouses and drive- ins. It is thought to stem from the defunct burlesque theaters on 4. Street, New York, where . Mom (2017) Stream. In the 1. 96. 0s these theaters were put to new use as venues for exploitation films, a trend that continued strongly throughout the 1.

New York City and other urban centers, mainly in North America, but began a long decline during the 1. As the drive- in movie theater began to decline in the 1. One solution was to book exploitation films. Some producers from the 1. Many of them were violent action films that some called .

They often blur the distinctions between genres by containing elements of two or more genres at a time. Their subgenres are identifiable by the characteristics they use. For example, Doris Wishman's Let Me Die A Woman contains elements of both shock documentary and sexploitation.

They were generally cautionary tales about the alleged dangers of premarital sexual intercourse and the use of recreational drugs. Examples include Marihuana (1.

Reefer Madness (1. Sex Madness (1. 93.

Child Bride (1. 94. Mom and Dad (1. 94.

She Shoulda Said No! An exploitation film about homosexuality, Children of Loneliness (1. A string of low- budget juvenile delinquent films featuring hot- rods and motorcycles followed in the 1. The success of American International Pictures' The Wild Angels in 1.

Other biker films include Motorpsycho (1. Hells Angels on Wheels (1.

The Born Losers (1. Angels from Hell (1. Easy Rider (1. 96. Satan's Sadists (1.

Roger Corman's Naked Angels (1. The Sidehackers (1. Nam's Angels (1. 97.

C. C. Stone (1. 97. Mad Max (1. 97. 9) combine elements of this subgenre with Ozploitation.

Blaxploitation. A prominent theme was African Americans overcoming hostile authority (. The first example of this subgenre was Melvin Van Peebles' Sweet Sweetback's Baadasssss Song, and others are Black Caesar, Black Devil Doll, Blacula, Black Shampoo, Boss Nigger, Coffy, Coonskin, Cotton Comes to Harlem, Dolemite, Foxy Brown, Hell Up in Harlem, The Mack, Mandingo, Shaft, The Spook Who Sat by the Door, Sugar Hill, Super Fly, The Thing with Two Heads, Truck Turner, Willie Dynamite and Cleopatra Jones. The 1. 97. 3 Bond film Live and Let Die uses blaxploitation themes, and Quentin Tarantino's Jackie Brown and Scott Sanders' Black Dynamite are modern homages to this genre. Cannibal films. They focus on cannibalism by tribes deep in the South American or Asian rainforests. This cannibalism is usually perpetrated against Westerners that the tribes held prisoner.

As with mondo films, the main draw of cannibal films was the promise of exotic locales and graphic gore involving living creatures. The best- known film of this genre is the controversial 1. Cannibal Holocaust, in which six animals are killed. Famous directors in this genre include Umberto Lenzi, Ruggero Deodato, Jes! Goin' Down the Road with the Cannibal Girls that Ate Black Christmas.

Your Complete Guide to the Canadian B- Movie. They were produced mainly in the United States and Australia.

The quintessential film of this genre is Vanishing Point (1. Others include Two- Lane Blacktop (1. The Cars That Ate Paris (1. Dirty Mary, Crazy Larry (1. Gone in 6. 0 Seconds (1.

Death Race 2. 00. Race with the Devil (1. Cannonball (1. 97. Herbie Goes to Monte Carlo (1. Mad Max (1. 97. 9), The Blues Brothers (1. Dead End Drive- In (1. The Hitcher (1. 98.

Quentin Tarantino's Death Proof (2. Vanishing Point), as well as to slasher films and the films of Russ Meyer.

It became known as chambara, an onomatopoeia describing the clash of swords. Its origins can be traced as far back as Akira Kurosawa, whose films feature moral grayness. Chambara features few of the stoic, formal sensibilities of earlier jidaigeki films – the new chambara featured revenge- driven antihero protagonists, nudity, sex scenes, swordplay, and blood. Well- known chambara films include Hanzo the Razor, Lady Snowblood, Lone Wolf and Cub, and Sex & Fury.

Modern Japanese films such as Azumi and anime such as Shigurui continue the chambara tradition, and Quentin Tarantino's Kill Bill series is a prominent American tribute to the genre, as is Ninja Assassin. Other films, such as The Machine Girl and Tokyo Gore Police, combine elements of chambara with body horror. Games like Senran Kagura combines Chambara with sexploitation. Giallo films. They are named for the Italian word for yellow, giallo, the background color of the pulp novels these movies were inspired by. The progenitor of this genre was The Girl Who Knew Too Much. Other examples of Giallo films include Four Flies on Grey Velvet, Deep Red, The Cat o' Nine Tails, The Bird with the Crystal Plumage, The Case of the Scorpion's Tail, A Lizard in a Woman's Skin, Black Belly of the Tarantula, The Strange Vice of Mrs.

Wardh, Blood and Black Lace and Tenebrae. Dario Argento, Lucio Fulci, and Mario Bava are the best- known directors of this genre. Mockbusters. Production company the Asylum, which prefers to call them . The term didn't become popular until the 1. Starcrash and the Turkish. D. The latter two used scenes from Star Wars and unauthorized excerpts from John Williams' score.