By Xavier Mendik
From mediations on specific imagery and profiles of popular performers to discussions of nationwide nudities and the titillating thrills of latest applied sciences, cine-erotica has develop into an important and subversive classification of up to date movie, media, and cultural experiences.
Expanding on fresh paintings in gender, cultural, and audience-based reports, Peep indicates: Cult movie and the Cine-Erotic examines the worldwide traditions of cult erotica, explaining key styles, paradigms, and performers from the realm of cult celluloid sexuality. Peep Shows comprises profiles of porn performers and icons corresponding to Ron Jeremy, Betty web page, Catherine Breillat, and Joe D'Amato. Essays additionally offers case reports of latest porn parodies, lesbian erotica, eastern crimson porn cinema, Café Flesh, the Seduction cinema label, the dominatrix in erotic cinema, lady porn audience, burlesque cinema programming, and porno stylish soundtracks. the quantity positive aspects particular interviews with erotic performers Seka, dollar Angel, Misty Mundae, Christina 'Thriller' Lindberg, and the prolific porn manufacturer, Michael L. Raso.
* hide picture from VIVA © 2007 through Anna Biller
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Betty Friedan’s 1963 bestseller, The Feminine Mystique,23 has left an enduring image of women in 1950s America as the suffocated victims of a ‘comfortable concentration camp’, with the claustrophobia of suburban drudgery generating feelings of confusion, self-doubt and despair. Yet Joanne Meyerowitz24 incisively shows how femininity and its cultural representations were much more diverse than allowed for in accounts such as Friedan’s. Alongside conservative visions of submissive domesticity, Meyerowitz demonstrates how there also existed many representations of women as independent, creative and non-conformist.
Here, she profiles the output of lesbian production company SIR, as well as their key titles including Sugar High Glitter City (Shar Rednour and Jackie Strano (2001)), which are notable for their adaption of classic dykesploitation conventions for contemporary lesbian audiences. From shifting authorial voice-over narration from male to female agency and updating documentary and photography to include a dominating lesbian gaze, as well as expanding the repertoire of same-sex scenarios beyond the 1960s cycle, Hines reads these films as very much co-opting rather than rejecting the limitations of the heterosexually defined soft-core films of the 1960s.
Representations of contented family life, meanwhile, were undoubtedly ubiquitous in American culture throughout the 1950s. Academics, politicians and the mass media all championed the family as both the cornerstone of American liberty and as a panacea to the perceived social and sexual dangers of the day. In magazines like Life, depictions of the middle-class family embodied a confident sense of national identity,18 while television series such as Ozzie and Harriet (1952–66), Father Knows Best (1954–63) and Leave It to Beaver (1957–63) all presented an idealised family life of cheerful tranquillity.