Producer Roger Corman's women-in-prison exploitation movies filmed in the Philippines during the early 1970s have received little academic attention, despite renewed audience interest in recent years. Furthermore, studies that do focus on these films usually only mention the settings in Philippine prisons and the Filipinos who populate the sets. To correct these omissions, this essay calls attention to how three of these films—Women in Cages (1971), Big Doll House (1971), and The Big Bird Cage (1972)—depict Philippine prisons as plantations, spaces where women provide cheap, expendable labor and suffer bodily from the norms of plantation slavery, such as torture and rape. However, these plantations are not merely "just like back home," an oft-quoted line delivered by Pam Grier's matron character in Women in Cages; this essay argues that the imprisoned American women are punished by Philippine "difference" in these films. The essay mainly examines the ways in which these films' mises-en-scène exploit Filipino people—a byproduct not just of the low cost and lax regulations of filming in the region, but also of imperialist notions about how to use Filipinos in American film plots. These films exploit images of Filipinos as "the subaltern" in the context of US imperialism, which is essential to the films' strategies to export "deviant" US women for punishment in the Philippine prison-plantation system.
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