The story behind adult movie posters in the United States is truly a fascinating tale. These posters represent a time when federal, state and local obscenity laws inevitably created a unique art genre: Erotic American Folk Art and Cinema.
I created the Theater of the Moving Image, a permanent exhibition, and also the rotating exhibit, Poster Art of Erotic Cinema,
to present films from 1910 to the early 1990s. Included in the exhibition were film reels (Super 8, 16mm, 35mm) featuring a variety of sexual orientations, movie posters (aka one sheets) and ephemera, movie scripts, and vintage film equipment. The exhibition changed often, presenting new films and objects to offer a comprehensive view of this genre of American cinema, as well as to provide viewers with cultural context from the era in which these films were made. Two theaters and several monitors were installed throughout the facility, inviting patrons to sit, watch, and discuss the works on display.
As soon as the first motion picture camera was invented in 1891, capturing the human form in every imaginable way was inevitable. The silent films of the early 1900s unleashed an unbridled voyeurism, nurtured imagination, and provided remedial—if biased—sex education. If we look back at the Victorian era, when the first nudie films were made, it was publicly scandalous for a woman to expose her clothed ankle! In fact, female sitting chairs were designed with downward-pitched seats to ensure that a woman’s clothing covered her ankles. If she sat in a man’s chair, her skirt would rise, exposing her ankles—oh, the indecency! The Puritan norms of the day were stifling for women, but for men, it was a man’s world. Men’s social clubs provided spaces where they could see nudie films, often referred to as “stag films.” The opportunity to watch a woman removing her many layers of clothing, proudly parading her nude body, or performing a sexual act on camera was mind-blowing at the time. Women were not considered equal to men, and it was believed they could not handle such stimulation.
Fast forward to the 40s and 50s, when film technology advanced significantly, and owning a movie camera became a Norman Rockwell-inspired reality. By the 60s, Kodak had made the Super 8 camera available to amateur filmmakers, and any American household could now produce a film. Imagination was unleashed once again. This synergistic moment in time—a combination of the natural evolution of filmmaking, access to affordable cameras, and the wave of the Sexual Revolution—led to the birth of sexploitation films.
As sexploitation films gained popularity, an underground market emerged. Serious money could be made from producing and distributing these films, although it remained illegal to sell, mail, or cross state lines with such material. Despite the risks, the demand for these films continued to grow, and authorities couldn’t suppress this new genre. By the late 60s, adult movie theaters began to spring up across the country, allowing viewers to experience adult films in public venues for the first time.
By the 70s, the adult film industry had truly come into its own. Films were now large-scale productions, shot on 35mm cameras with professional crews and all the trappings of a mainstream Hollywood film. Exotic locations and Oscar-worthy screenplays were common. Despite this progress, adult filmmakers often found themselves at odds with the law, as federal, state, and local obscenity laws continued to target the industry. Actors, directors, and producers were no strangers to legal battles, with many having attorneys on retainer to help them navigate the constant risk of incarceration. Being part of the adult film industry was both glamorous and dangerous, and individuals involved in these films became household names. Terms like “Fluffer” became part of mainstream vernacular.
Unlike Hollywood films, where ownership and artistic contributions were well-documented, adult films from the early 1900s to the 70s lack clear records of ownership or creative credits. Why would anyone want to legally copyright contraband? It wasn’t until the late 60s, with the emergence of bold filmmakers like Kenneth Anger and Alex de Renzy, that adult films were recognized as art and protected by the First Amendment. This era marked the beginning of the “Golden Age of Porn,” paving the way for remarkable films.
When I began developing the Erotic Folk Art of American Cinema exhibition, collecting or preserving adult films and their ephemera in the U.S. was taboo, and such objects were difficult to access. The few repositories that existed, like The Exodus Trust/Institute for Advanced Study of Human Sexuality (IASHS) in California and The Kinsey Institute in Indiana, were vital in preserving this history. Meanwhile, Europe and the UK had become hot markets for collecting vintage Americana, including American adult films.
It was during my research at IASHS that I met Tony Nourmand of Reel Art Press, who was working on his book X-Rated: Adult Movie Posters of the 60s and 70s. His work was groundbreaking, as no one had previously documented these posters for their artistic value. Nourmand’s book became a collector’s item, and I highly recommend it for anyone interested in adult movie posters.
At the same time, I met Ashley West of New York City, who was developing The Rialto Report: Documentary Archives for Adult Films. West was documenting the stories of actors, directors, and producers from New York’s 70s sex industry. The Rialto Report became a vital resource for understanding this era and was even used for historical accuracy in HBO’s The Deuce. West’s dedication to this project has been invaluable, and The Rialto Report remains an essential archive for social sciences.
Before the Internet age, movie posters were vital to a film’s success. They were designed to pique the curiosity of potential viewers and drive ticket sales, much like the posters for mainstream films like Metropolis, Casablanca, or Star Wars. Adult movie posters had a similar function but faced the challenge of attracting viewers without offending passersby. Posters from this era were clever, using tongue-in-cheek illustrations and playful wording to toe the line between respectability and sexual fantasy.
The art and design of these posters evolved over time. Prior to 1975, most posters were illustrated, but after 1975, photography became the dominant medium. Adult film stars, directors, and producers had become household names, and the films themselves were chic. The lines between mainstream cinema and the adult film industry blurred, most notably with the release of Caligula in 1979, starring Helen Mirren, Malcolm McDowell, and Peter O’Toole.
Before I created the Erotic Folk Art of American Cinema exhibition, few people recognized the value of these adult movie posters, and many were discarded as junk. But today, the appreciation for these works has grown. Auction houses like Christie’s and Sotheby’s now feature these posters in their catalogs, and accredited universities around the world preserve them for academic study.
The artists behind these posters remain largely unknown. Unlike Hollywood, where creatives were credited, those who designed adult movie posters often chose anonymity to avoid social or financial backlash. But thanks to changing societal attitudes, artists today can take pride in their work, regardless of whether it’s created for mainstream or adult films.
I’ve had the privilege of appraising the film production records of Alex de Renzy, Harry Mohney, and Larry Flynt. While their archives are extensive, records of poster designers are scarce. However, these films and posters, once on the fringes of society, are now being appreciated for their artistic value.
American films have always inspired global cinema, and this genre is no exception. When one takes the time to appreciate these posters as standalone works of art, it becomes clear that they reflect not only the films themselves but also the culture, politics, and fashion of the times.
Viva Erotic American Folk Art!
