Snuff

Snuff (1976) occupies a unique place in cinematic history, as the first commercially successful film to capitalise upon the myth of the snuff movie. By blending cinema verit styling with a media moral panic, savvy producer Allan Shackletons blending of a long-forgotten exploitation film with a newly filmed bloody, if unconvincing conclusion, only served to consolidate the belief that somewhere, at some time, someone was killed on camera in an attack that was as much about the sexual gratification of the films intended audience, as it was about the commercial rewards for those producing the film. In the years since its release, the film has been routinely cited as evidence of the snuff movies existence, contributing to a cultural history that exists outside of the film. This book explores the production, distribution and exhibition of the film Snuff, alongside that cultural history, considering how a scarcely seen exploitation film contributed to a popular understanding of the snuff movie. It assesses the cultural, cinematic and political legacy of the film and asks whether the established definition of what might constitute a snuff movie, that was defined 45 years ago, is sufficient in an attention economy that is based upon participatory culture.