The editor would like to thank all of the writers who contributed so much hard work to this volume. I would also like to offer sincere my thanks to Veronica Hart for contributing the foreword. Thanks also to Erin Brown, Mike Esterman, Christian Hallman, Christina Lindberg, Buck Naked, Magnus Paulsson and Michael L. Raso for their support and assistance with compiling the interview materials used in this book. I would also like to thank Christian Hallman, Stefan Nylén and Magnus Paulsson for allowing us to reproduce some of the exclusive interview material contained in the documentary Desperately Seeking Seka for the chapter on the actress. In addition, I would also like to thank Seka herself for providing further visual materials to illustrate that section of the volume.
Additionally, I would like to thank Eve Bennett for all her invaluable editorial and proofreading assistance in the initial stages of preparing the volume. Further thanks go to Professor Julian Petley for his assistance with the completion of this book. On a personal level I would like to offer my sincere thanks to my friend and colleague Ernest Mathijs who was not able to co-edit this project with me as initially planned but who continued to guide and support its completion with integrity and commitment. Finally, I offer my sincere thanks and gratitude to Yoram Allon and all the staff at Wallflower Press for their patience and support for Peep Shows and the AlterImage series as a whole.
An earlier version of Jacob Smith’s article ‘Sound and Performance in Stephen Sayadian’s Night Dreams and Café Flesh’ appeared in Velvet Light Trap (vol. 59, 2007), and is reproduced here courtesy of University of Texas Press. Emily Shelton’s article ‘A Star is Porn: Corpulence, Comedy, and the Homosocial Cult of Adult Film Star Ron Jeremy’ first appeared in Camera Obscura (vol. 17, no. 3; 2002) and is reproduced here courtesy of Duke University Press. An earlier version of Ian Hunter’s chapter ‘A Clockwork Orgy: A User’s Guide’ was published in Elizabeth Wells and Tamar Jeffers McDonald (eds) Realities and Remediations: The Limits of Representation (Newcastle upon Tyne: Cambridge Scholars Publishing, 2007).
The images used in the chapter ‘Sound and Performance in Stephen Sayadian’s Nights Dreams and Café Flesh’ were sourced with the assistance of the director. The images of the actress used in the chapter ‘Blonde Fire: An Interview with Seka’ are courtesy of the actress, and are sourced from the website www.seka.com. I would like to thank Seka for her assistance in allowing us to reproduce these images here. The images used in the chapter ‘That’s L’Amorte: Joe D’Amato and the Sadean Art of Love’ were provided by Fab Press, and I would like to thank Harvey Fenton for his assistance in sourcing these images for use in this volume. The images used in the chapters ‘When Spiderman Became Spiderbabe: Appropriation and the Political Economy of the “Soft-Core Spoof” Genre’ and ‘The Erotic Adventures of Misty Mundae’ are courtesy of Michael L. Raso and Seduction Cinema. The images used in the chapter ‘“I Guess They Got Past Their Fear of Porn”: Women Viewing Porn Films’ are from the film Anna’s Mates, produced and directed by Anna Span, and included courtesy of Easy on the Eye Productions. The images used in the chapter ‘“If You Ache Beneath Your Intestines or Scream Silently in the Cavities of Your Chest, Then This Picture is For You”: Curt McDowell’s Thundercrack!’ are courtesy of Melinda McDowell, and I would like to thank her for allowing us to reproduce these exclusive on-set images from the making of the film. The images used in the chapter ‘“Let’s Do Something You Won’t Enjoy”: Dominatrix Porn, Performance and Subjectivity’ are courtesy of Dom Productions, and I would like to thank Derek Bartle for allowing us to reproduce them here. The images used in the chapter ‘Neo-Liberal Avant-Garde Sexploitation in Japan: The Interplay of Collaboration and Revolution in the Pink Film’ are courtesy of the author’s personal collection. The images of Thriller (aka They Call Her One Eye) used in the chapter ‘Flesh (Fur) and Fury: An Interview with Christina Lindberg’ are courtesy of Synapse Films and I would like to thank Don May Jr for allowing us to reproduce them in this volume. Additional publicity photographs of Christina Lindberg were provided by the actress herself, for which we offer our grateful thanks. The images used in the chapter ‘Semblance and the Sexual Revolution: A Critical Review of Viva’ are courtesy of Nouveaux Pictures-Cine-Excess.
The rest of the images contained in the book are the property of the production and distribution companies concerned. They are reproduced here in the spirit of publicity and the promotion of the films in question.
This volume is dedicated with much love to Zena and Caroline.