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When Armando Bó and Isabel Sarli began making sexploitation films together in 1956, they provoked audiences by featuring explicit nudity that would increasingly become more audacious, constantly challenging contemporary norms. Their Argentine films developed a large and international fan base. Analyzing the couple's films and their subsequent censorship, Violated Frames develops a new, roughly constructed, and 'bad' archive of relocated materials to debate questions of performance, authorship, stardom, sexuality, and circulation. Victoria Ruétalo situates Bó and Sarli's films amidst the popular culture and sexual norms in post-1955 Argentina, and explores these films through the lens of bodies engaged in labor and leisure in a context of growing censorship. Under Perón, manual labor produced an affect that fixed a specific type of body to the populist movement of Perónism: a type of body that was young, lower-classed, and highly gendered. The excesses of leisure in exhibition, enjoyment, and ecstasy in Bó and Sarli's films interrupted the already fragmented film narratives of the day and created alternative sexual possibilities
Pornographic films --- Bó, Armando, --- Sarli, Isabel --- Criticism and interpretation.
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Fred Halsted's L.A. Plays Itself (1972) was gay porn's first masterpiece: a sexually explicit, autobiographical, experimental film whose New York screening left even Salvador Dalí repeatedly muttering “new information for me.” Halsted, a self-taught filmmaker, shot the film over a period of three years in a now-vanished Los Angeles, a city at once rural and sleazy. Although his cultural notoriety at one point equaled that of Kenneth Anger or Jack Smith, Halsted's star waned in the 1980s with the emergence of a more commercial gay-porn industry. After the death from AIDS of his long-time partner, lover, spouse (and tormentor) Joey Yale in 1986, Halsted committed suicide in 1989.In Halsted Plays Himself, acclaimed artist and filmmaker William E. Jones documents his quest to capture the elusive public and private personas of Halsted—to zero in on an identity riddled with contradictions. Jones assembles a narrative of a long-gone gay lifestyle and an extinct Hollywood underground, when independent films were still possible, and the boundary between experimental and pornographic was not yet established. The book also depicts what sexual liberation looked like at a volatile point in time—and what it looked like when it collapsed.
Cinéma --- Gay motion picture actors and actresses --- Gay pornographic films
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Pornographic films. --- Pornography. --- Sex-oriented businesses. --- Sexual fantasies.
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A chance meeting draws the shady Otsuki to the home of a master calligrapher, where he is subjected to a bizarre pornographic movie in which shots of a teenage girl alternate with close-ups of insects. Otsuki is then introduced to the calligrapher's attractive granddaughter, the star of the film, and is asked to shoot the remainder of the work himself. A metaphysical thriller, surreal noir, and 'moral tale' gone wrong, Triangle is an unsettling peek into the dark and irrational reality lying beneath a city.
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"While pornographic film asserts itself as the rebellious cousin to the literary and cinematic canon, porn nonetheless relies on a particular 'Victorianness' in generating eroticism--a Gothic Victorianness that is monstrous and restrained, repressed but also perverse, static but also transformative, and preoccupied by gender and sexuality in both regressive and progressive ways. Pornographic films enthusiastically expose the perceived hypocrisy of this Victorianness, rhetorically equating it with mainstream, legitimate culture, as a way of staging pornography's alleged sexual authenticity and transgressive nature. By analyzing pornographic neo-Victorian adaptations of nineteenth century pornographic literature, Lewis Carroll's Alice books, Robert Louis Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde, Oscar Wilde's The Picture of Dorian Gray, and Bram Stoker's Dracula, Laura Helen Marks argues that the rupture and rearticulation of social and corporeal propriety constitutes pornographic rhetoric. The predominantly American pornographic stories covered in the project appropriate canonical British icons as a method to refute the Old World framed as sexually repressed, yet hypocritical. In the process, these texts establish a postmodern American sexual identity framed as sexually liberated and culturally savvy. Porn adaptations expose the implicit pornographic aspects of 'legitimate' culture while also revealing the extent to which 'high' and 'low' genres rely on each other for self-definition and the attempted stabilization of the gendered sexual subject"--
English fiction --- Film adaptations --- Pornographic films --- English literature --- Film adaptations. --- History and criticism.
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Pornography --- Comic books, strips, etc. --- Sex-oriented businesses --- Pornographic films --- Production and direction
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Qu'on le veuille ou non, depuis qu'il est sorti de la clandestinité, le cinéma porno est devenu l'un des grands genres cinématographiques du divertissement populaire, à côté du thriller, du film d'horreur, de la comédie sentimentale etc. Il est tout à fait insuffisant de définir un genre par les réactions qu'il est censé susciter chez les spectateurs (en l'occurrence l'excitation sexuelle). De même, il est insuffisant de le définir par son " iconographie " i.e. les différentes performances sexuelles et la manière dont elles sont filmées. Il est tout simplement faux d'affirmer que les films pornographiques se ressemblent tous et ne racontent rien. Qu'est-ce que nous racontent donc les films pornos ?
Pornographic films --- Sex in motion pictures --- Pornography in popular culture --- Pornography
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Depuis les années 1970, la pornographie s'organise comme un monde professionnel, se fixant pour tâche de représenter les désirs des consommateurs, mobilisant des savoir-faire spécifiques pour y parvenir. Alors que l'influence de ces images ou la violence qui les caractériserait sont souvent au centre des débats, ce livre, en s'appuyant sur une enquête de terrain au sein la production pornographique française, pose d'autres questions : comment les pornographes parviennent-ils à circonscrire un espace pour leur activité ? Quelles formes prennent les relations de travail dans un contexte de professionnalisation de la sexualité ? Comment s'opèrent les partages entre sexualité féminine et masculine, homosexualité et hétérosexualité, et pourquoi sont-ils ici un enjeu majeur ? Mettant en marché les fantasmes, mobilisant les désirs des actrices et des acteurs, reposant sur des formes spécifiques d'exploitation, le monde de la pornographie permet de saisir certaines évolutions contemporaines du capitalisme, et leurs articulations avec les rapports de genre et de sexualité. Il offre également l'occasion de faire de l'hétérosexualité un objet d'enquête à part entière. Alors que réalisateurs et producteurs se donnent pour tâche de saisir une multiplicité de fantasmes, ils définissent leur métier comme masculin, mais aussi comme hétérosexuel. L'enquête met en évidence une circonscription paranoïaque de l'homosexualité masculine et les contradictions au principe de l'hétérosexualité, dans lesquelles les pornographes sont pris.
Pornography --- Sex-oriented businesses --- Pornographic films --- Social aspects. --- Social aspects. --- History and criticism.
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Pornography --- Pornographic films --- Girlie magazines --- Pornography in popular culture --- Sex --- History
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When Armando Bó and Isabel Sarli began making sexploitation films together in 1956, they provoked audiences by featuring explicit nudity that would increasingly become more audacious, constantly challenging contemporary norms. Their Argentine films developed a large and international fan base. Analyzing the couple's films and their subsequent censorship, Violated Frames develops a new, roughly constructed, and "bad" archive of relocated materials to debate questions of performance, authorship, stardom, sexuality, and circulation. Victoria Ruétalo situates Bó and Sarli's films amidst the popular culture and sexual norms in post-1955 Argentina, and explores these films through the lens of bodies engaged in labor and leisure in a context of growing censorship. Under Perón, manual labor produced an affect that fixed a specific type of body to the populist movement of Peronism: a type of body that was young, lower-classed, and highly gendered. The excesses of leisure in exhibition, enjoyment, and ecstasy in Bó and Sarli's films interrupted the already fragmented film narratives of the day and created alternative sexual possibilities.
Pornographic films --- Bó, Armando, --- Sarli, Isabel --- Criticism and interpretation. --- Criticism and interpretation.