INTRODUCTION
1 L. Williams (2004) Porn Studies. Durham and London: Duke University Press, 1.
3 A. Dworkin (1981) Pornography: Men Possessing Women. London: The Women’s Press Ltd.
4 S. Griffin (1982) Pornography and Silence. London: The Women’s Press Ltd.
5 A. Dworkin (1977) from Letters From a War Zone, reproduced in D. Cornell (ed.) (2000) Feminism and Pornography. Oxford: Oxford University Press, 27.
6 See L. Lovelace and M. McGrady (1980) Ordeal. New York: Berkeley.
7 E. H. D. Russell, in D. Cornell (ed.) (2000) Feminism and Pornography. Oxford: Oxford University Press, 55.
8 C. Mackinnon (1993) from Only Words, reproduced in D. Cornell (ed.) (2000) Feminism and Pornography. Oxford: Oxford University Press, 101.
9 Williams, L. (1989) Hard Core: Power, Pleasure and the Frenzy of the Visible. Berkeley: University of California Press, 203.
10 L. Segal and M. McIntosh (eds) (1992) Sex Exposed: Sexuality and the Pornography Debate. London: Virago Press.
11 K Mackinnon (1988) Uneasy Pleasures: The Male as Erotic Object. Madison, NJ: Fairleigh Dickinson University Press.
12 C. Penley (2004) ‘Crackers and Whackers: The White Trashing of Porn’, in L. Williams (ed.) Porn Studies. Durham: Duke University Press, 309–31.
13 R. Royce Mahawatte (2004) ‘Loving the Asian: Race, Gay Pornography and the Essentials of Passion’, in P. Church Gibson (ed.) More Dirty Looks: Gender, Pornography and Power. London: British Film Institute. 127–37.
14 B. McNair (2002) Striptease Culture. London: Routledge; F. Attwood (2009) Mainstreaming Sex: The Sexualisation of Western Culture. London: I.B. Tauris.
15 See L. Sigel (2002) Governing Pleasures: Pornography and Social Change in England. Piscataway, NJ: Rutgers University Press.
16 E. Mathijs and X. Mendik (eds) (2004) Alternative Europe: Eurotrash and Exploitation Cinema Since 1945. London: Wallflower Press.
CHAPTER 1
1 J. Workman (1990) Betty Being Bad, Seattle: Eros Comix, 1.
2 Buszek, M. (2006) Pin-Up Grrrls: Feminism, Sexuality, Popular Culture, Durham: Duke University Press, 247.
3 See K. Essex and J. Swanson, J. (1996) Bettie Page: The Life of a Pin-Up Legend, Los Angeles: General Publishing, 49–57; and R. Foster (1997) The Real Bettie Page: The Truth About the Queen of the Pinups, Secaucus, NJ: Birch Lane Press, 32–9.
4 See M. Gabor (1995) The Pin-Up: A Modest History, Cologne: Evergreen, 77–8; and H. Merrill (1995) Esky: The Early Years at Esquire, New Brunswick, NJ: Rutgers University Press, 93.
5 S. Hall (1981) ‘Notes on Deconstructing the Popular’, in R. Samuel (ed.) People’s History and Socialist Theory. London: Routledge, 228.
6 R. Allen (1991) Horrible Prettiness: Burlesque and American Culture, Chapel Hill, NC: University of North Carolina Press, 138.
9 Wink, October 1954, 22–3.
10 See K. Essex and J. Swanson (1996) Bettie Page: The Life of a Pin-Up Legend, Los Angeles: General Publishing, 143–4; and R. Foster (1997) The Real Bettie Page: The Truth About the Queen of the Pinups, Secaucus, NJ: Birch Lane Press, 55–7.
11 L. Mulvey (1975) ‘Visual Pleasure and Narrative Cinema’, Screen, 16 (3), 6–18.
12 E. Schaefer (1999) ‘Bold! Daring! Shocking! True!’: A History of Exploitation Films, 1919–1959, Durham: Duke University Press, 311.
14 A. Nadel (1995) Containment Culture: American Narratives, Postmodernism, and the Atomic Age, Durham: Duke University Press, 14.
15 E. T. May (1995) Barren in the Promised Land: Childless Americans and the Pursuit of Happiness, Cambridge: Harvard University Press, 127–34; and E. T. May (1999) Homeward Bound: American Families in the Cold War Era, second edn. New York: Basic Books, 82.
16 J. D’Emilio (1983) Sexual Politics, Sexual Communities: The Making of a Homosexual Minority in the United States, 1940–1970. Chicago: University of Chicago Press, 40–56; and J. D’Emilio (1989) ‘The Homosexual Menace: The Politics of Sexuality in Cold War America’, in K. Peiss and C. Simmons (eds) Passion and Power: Sexuality in History. Philadelphia: Temple University Press, 226–40.
17 Johnson, D. (2004) The Lavender Scare: The Cold War Persecution of Gays and Lesbians in the Federal Government, Chicago: University of Chicago Press.
18 See W. Kozol (1994) Life’s America: Family and Nation in Postwar Photojournalism. Philadelphia: Temple University Press.
19 P. Biskind (1983) Seeing is Believing: How Hollywood Taught Us To Stop Worrying and Love the Fifties. New York: Pantheon, 4.
20 L. May (ed.) (1989) Recasting America: Culture and Politics in the Age of the Cold War. Chicago: Chicago University Press.
21 J. Foreman (1997) The Other Fifties: Interrogating Midcentury American Icons. Urbana: University of Illinois Press.
23 B. Friedan (1963) The Feminine Mystique. New York: W. W. Norton.
24 J. Meyerowitz (1993) ‘Beyond the Feminine Mystique: A Reassessment of Postwar Mass Culture, 1946–1958’, Journal of American History, 79 (4), 1455–82.
25 See K. Essex and J. Swanson (1996) Bettie Page: The Life of a Pin-Up Legend. Los Angeles: General Publishing, 143–6; and R. Foster (1997) The Real Bettie Page: The Truth About the Queen of the Pinups. Secaucus, NJ: Birch Lane Press, 55–60.
26 B. Page (2000) Betty Page: The Complete Interview (CD). Bonn: QDK Records.
27 J. Butler (1990) Gender Trouble: Feminism and the Subversion of Identity. London: Routledge, 140.
28 J. Butler (1995) ‘Melancholy Gender/Refused Identification’, in M. Berger, B. Wallis and S. Watson (eds) Constructing Masculinity. London: Routledge, 31.
29 M. Buszek (2006) Pin-Up Grrrls: Feminism, Sexuality, Popular Culture. Durham: Duke University Press, 247.
30 See J. Slade (2001) Pornography and Sexual Representation: A Reference Guide, Vol. 1. Westport, CT: Greenwood Press, 203.
31 F. Jameson (1984) ‘Postmodernism, or the Cultural Logic of Late Capitalism’, New Left Review, 146, 65.
32 F. Jameson (1988) ‘The Politics of Theory: Ideological Positions in the Postmodernism Debate’, in F. Jameson, The Ideologies of Theory Essays, Volume 2. London: Routledge, 105.
33 J. Storey (2001) ‘The Sixties in the Nineties: Pastiche or Hyperconsciousness?’, in B. Osgerby and A. Gough-Yates (eds) Action TV: Tough Guys, Smooth Operators and Foxy Chicks. London: Routledge, 246.
34 F. Jameson (1984) ‘Postmodernism, or the Cultural Logic of Late Capitalism’, New Left Review, 146, 65.
CHAPTER 2
2 S. Sayadian. Interview with the author, 21 August 2005.
4 S. Sayadian. Telephone interview, 8 November 2005.
5 L. Kipnis (1996) Bound and Gagged. New York: Grove Press, 153.
6 S. Sayadian. Telephone interview, 26 May 2005.
7 S. Sayadian. Telephone interview, 9 June 2005.
8 S. Sayadian. Interview with the author, 21 August 2005.
10 J. Hawkins (2003) ‘Midnight Sex-Horror Movies and the Downtown Avant-Garde’, in M. Jancovich, A. Lazaro Reboll, J. Stringer and A. Willis (eds) Defining Cult Movies. Manchester: Manchester University Press, 223.
13 S. Sayadian. Telephone interview, 26 May 2005.
15 S. Sayadian. Interview with the author, 21 August 2005.
16 L. Williams (1989) Hard Core. Berkeley: University of California Press, 147–8.
17 J. Stahl. Email interview, 1 September 2005.
18 S. Sayadian. Interview with the author, 21 August 2005.
19 R. Cante and A. Restivo (2001) ‘The Voice of Pornography’, in M. Tinkcom and A. Villarejo (eds) Keyframes. New York: Routledge, 221.
20 L. Williams (1989) Hard Core. Berkeley: University of California Press, 124.
21 The term sonotope is a reference to Mikhail Bakhtin’s concept of the chronotope, which he used to refer to ‘the intrinsic connectedness’ of temporal [chrono-] and spatial [tope] relationships that are artistically expressed in literature’; for Bakhtin, chronotopes such as ‘the road’ were a defining factor in the shaping of literary genres, functioning as ‘organizing centers’ for narrative events since they dictate settings, characters and types of interaction as well as a certain experience of time (M. M. Bakhtin (1981) The Dialogic Imagination. Austin: University of Texas Press, 84; 250).
22 See J. Laplanche and J.-B. Pontalis (1968) ‘Fantasy and the Origins of Sexuality’, in The International Journal of Pyschoanalysis, vol. 49, 17.
23 J. Hawkins (2003) ‘Midnight Sex-Horror Movies and the Downtown Avant-Garde’, in M. Jancovich, A. Lazaro Reboll, J. Stringer and A. Willis (eds) Defining Cult Movies. Manchester: Manchester University Press, 225.
24 S. Sayadian. Interview with the author, 21 August 2005.
25 J. Stahl (1985) ‘Café Flesh and Me: Confessions of a Cult Sex King’, in Playboy, vol. 32, issue 4, 80.
27 S. Sayadian. Interview with the author, 21 August 2005.
28 J. Hawkins (2003) ‘Midnight Sex-Horror Movies and the Downtown Avant-Garde’, in M. Jancovich, A. Lazaro Reboll, J. Stringer and A. Willis (eds) Defining Cult Movies. Manchester: Manchester University Press, 229.
29 L. Williams (1989) Hard Core. Berkeley: University of California Press, 160.
30 S. Sayadian. Interview with the author, 21 August 2005.
31 J. Stahl (1985) ‘Café Flesh and Me: Confessions of a Cult Sex King’, in Playboy, vol. 32, issue 4, 80.
32 S. Sayadian. Interview with the author, 21 August 2005.
33 J. Naremore (1988) Acting in the Cinema. Berkeley: University of California Press, 3
35 See T. Castle (1986) Masquerade and Civilization. Stanford: Stanford University Press, 40.
36 J. Stahl. Email interview, 25 April 2005.
38 S. Sayadian. Interview with the author, 21 August 2005.
40 J. Hoberman and J. Rosenbaum (1983) Midnight Movies. New York: Da Capo Press, 301.
41 S. Sayadian. Telephone interview, 8 November 2005.
42 S. Sayadian. Interview with the author, 21 August 2005.
43 J. Stahl (1985) ‘Café Flesh and Me: Confessions of a Cult Sex King’, in Playboy, vol. 32, issue 4, 202.
44 J. Hoberman and J. Rosenbaum (1983) Midnight Movies. New York: Da Capo Press, 302.
46 S. Sayadian. Interview with the author, 21 August 2005.
CHAPTER 3
1 K. Murphy (2004) ‘Hells Angels: An Interview with Catherine Breillat’, www.sensesofcinema.com. Accessed 21 April 2008.
2 A. Rich (1971) ‘When We Dead Awaken: Writing as Re-Vision’, in A. Rich (1979) On Lies, Secrets and Silence – Selected Prose. New York: W. W. Norton, 35.
4 See A. Smith (2005) French Cinema in the 1970s: The Echoes of May. Manchester: Manchester University Press.
5 C. Darke (2008) ‘French Cinema Now, Unbelievable But Real: The Legacy of ‘68’, Sight & Sound, May, 30.
6 C. Breillat (2004) ‘Interview with the Director’, Anatomy of Hell DVD, Tartan.
11 G. MacNab (2004) ‘Written on the Body: An Interview with Catherine Breillat’, Sight & Sound, December, 20–2.
12 L. Williams (1999) Hard Core: Power Pleasure and the Frenzy of the Visible. Berkeley: University of California Press.
13 L. Williams (ed.) (2004) Porn Studies. Durham: Duke University Press, 1.
14 K. Boyle (2006) ‘The Boundaries of Porn Studies: On Linda Williams’ Porn Studies’, New Review of Film and Television Studies, 4 (1), 1–16.
15 K. Boyle (2008) ‘Courting Consumers and Legitimating Exploitation: The Representation of Commercial Sex in Television Documentaries’, Feminist Media Studies, 8 (1), 35–50.
18 C. Breillat (1999) Romance – Press Kit.
19 R. Sklar (with S. Gluck) (1999) ‘A Woman’s Vision of Shame and Desire: An Interview with Catherine Breillat’, Cineaste, 25 (1), 31.
20 L. Downing (2004) ‘French Cinema’s New “Sexual Revolution”: Postmodern Porn and Troubled Genre’, French Cultural Studies, 15 (3), 269.
21 A. Gillain and M. Colvin (translator) (2003) ‘Profile of a Filmmaker: Catherine Breillat’ in R. Celestin, E. DalMolin and I. de Courtivron (eds) Beyond French Feminisms: Debates on Women, Politics, and Culture in France, 1981–2001. Basinstoke: Palgrave Macmillan, 204.
22 M. Beugnet (2007) Cinema and Sensation: French Film and the Art of Transgression. Edinburgh: Edinburgh University Press, 48.
24 M. Dargis (2004) ‘Four Nights of Sex and Zero Nights of Fun’, The New York Times, 15 October.
25 K. Murphy (2004) ‘Hells Angels: An Interview with Catherine Breillat’, www.sensesofcinema.com. Accessed on 21 April 2008.
26 A. Dworkin (1997) ‘Pornography Happens’, in A. Dworkin, Life and Death: Unapologetic Writings on the Continuing War Against Women. London: Virago Press, 126–7.
27 K. Boyle (2008) ‘Courting Consumers and Legitimating Exploitation: The Representation of Commercial Sex in Television Documentaries’, Feminist Media Studies, 8 (1), 45.
28 C. Breillat (2004) ‘Interview with the Director’, Anatomy of Hell DVD, Tartan.
29 A. Dworkin (1997) ‘Pornography Happens’, in A. Dworkin, Life and Death: Unapologetic Writings on the Continuing War Against Women. London: Virago Press, 99.
30 K. Boyle (2008) ‘Courting Consumers and Legitimating Exploitation: The Representation of Commercial Sex in Television Documentaries’, Feminist Media Studies, 8 (1), 46.
31 MacNab, G. (2004) ‘Written on the Body: An Interview With Catherine Breillat’ Sight & Sound, (December 2004).
33 L. Williams (2001) ‘Cinema and the Sex Act’, Cineaste, 27 (1), 20–5.
34 For example see L. Johnson (2004) ‘Perverse Angle: Feminist Film, Queer Film, Shame’, Signs: Journal of Women in Culture and Society, 30 (1), 1360–84; and K. Gorton (2007) ‘The Point of View of Shame: Reviewing Female Desire in Catherine Breillat’s Romance (1999) and Anatomy of Hell (2004)’, Studies in European Cinema, 4 (2), 111–24.
35 L. Felperin and L. R. Williams (1999) ‘The Edge of the Razor: Interview with Catherine Breillat’, Sight and Sound, October, 13–14.
36 R. Sklar (with S. Gluck) (1999) ‘A Woman’s Vision of Shame and Desire: An Interview with Catherine Breillat’, Cineaste, 25 (1), 31.
38 R. Sklar (with S. Gluck) (1999) ‘A Woman’s Vision of Shame and Desire: An Interview with Catherine Breillat’, Cineaste, 25 (1), 31.
CHAPTER 4
1 For more information on the homophobic response to disco see W. Hughes (1994) ‘In the Empire of the Beat: Discipline and Disco’, in A. Ross and T. Rose (eds) Microphone Fiends: Youth Music and Youth Culture. London: Routledge; 147–58; and J. Kooijman (2005) ‘Turn the Beat Around: Richard Dyer’s “In Defence of Disco” Revisited’, European Journal of Cultural Studies, 8 (2), 257–66. For a full account of the Disco Demolition Derby and a definitive account of dance music culture see T. Lawrence (2005) Love Save’s the Day: A History of American Dance Music Culture 1970–1979. Durham: Duke University Press.
2 A. Goldman (1978) Disco. New York: Hawthorn Press, 117.
4 A. Kopkind (1979) ‘The Dialectic of Disco: Gay Music Goes Straight’, The Village Voice, 34 (7), 1–14.
5 Holleran, A. (2001 [1978]) The Dancer From the Dance. New York: HarperCollins.
6 A. Goldman (1978) Disco. New York: Hawthorn Press, 20.
8 M. Cheren (2000) Keep on Dancin’: My Life and the Paradise Garage. New York: 24 Hours for Life.
9 The bar is still open to this day on New York’s Christopher Street.
10 R. Cante and A. Restivo (2004) ‘The Cultural-Aesthetic Specificities of All-Male Moving-Image’, in L. Williams (ed.) Porn Studies. Durham: Duke University Press, 147.
11 R. Dyer (1990) Now You See It: Studies on Lesbian and Gay Film. London: Routledge.
12 Quoted from the documentary Gay Sex and the 1970s (2005).
13 P. Moore (2004) Beyond Shame: Reclaiming the Abandoned History of Radical Gay Sexuality. Boston: Beacon Press.
14 R. Cante and A. Restivo (2004) ‘The Cultural-Aesthetic Specificities of All-Male Moving-Image’, in L. Williams (ed.) Porn Studies. Durham: Duke University Press, 143.
15 L. Williams (1999) Hard Core: Power, Pleasure, and the ‘Frenzy of the Visible’. Berkeley: University of California Press, 122.
16 J. Gill (1995) Queer Noises: Male and Female Homosexuality in Twentieth-Century Music. New York: Continuum.
17 See R. Barthes (1975) The Pleasure of the Text. London: Hill and Wang.
18 A. Kopkind (1979) ‘The Dialectic of Disco: Gay Music Goes Straight’, The Village Voice, 34 (7), 11.
20 R. Cante and A. Restivo (2004) ‘The Cultural-Aesthetic Specificities of All-Male Moving-Image’, in L. Williams (ed.) Porn Studies. Durham: Duke University Press, 143.
21 R. Dyer (1979) ‘In Defence of Disco’, Gay Left, 8, 20.
23 P. Moore (2004) Beyond Shame: Reclaiming the Abandoned History of Radical Gay Sexuality. Boston: Beacon Press, xxv.
CHAPTER 5
1 Figure cited from the documentary Desperately Seeking Seka (Magnus Paulsson/Christian Hallman, 2002).
CHAPTER 6
1 J. Phillips (1993) Sade: The Libertine Novels. London: Pluto Press, 32.
2 M. Charney (1981) Sexual Fiction. London: Methuen, 35.
6 J. Phillips (1993) Sade: The Libertine Novels. London: Pluto Press, 43.
7 See D. A. F. Sade (1966) The Marquis de Sade: The 120 Days of Sodom and Other Writings. New York: Grove Press.
8 D. Badder (1977) ‘Emanuelle and Françoise’ (review), Monthly Film Bulletin, vol. 44, no. 526, 232.
11 M. Charney (1981) Sexual Fiction. London: Methuen, 33.
12 J. Phillips (1993) Sade: The Libertine Novels. London: Pluto Press, 43.
14 M. Charney (1981) Sexual Fiction. London: Methuen, 38.
15 J. Phillips (1993) Sade: The Libertine Novels. London: Pluto Press, 51.
17 See P. Lehman (1993) Running Scared: Masculinity and Representations of the Male Body. Philadelphia: Temple University Press.
20 J. Phillips (1993) Sade: The Libertine Novels. London: Pluto Press, 37.
21 P. Lehman (1993) Running Scared: Masculinity and Representations of the Male Body. Philadelphia: Temple University Press, 178–9.
22 J. Phillips (1993) Sade: The Libertine Novels. London: Pluto Press, 37.
CHAPTER 7
1 M. Raso. Interview with the author, June 2008.
2 E. Meehan (1991) ‘Holy Commodity Fetish, Batman!: The Political Economy of a Commercial Intertext’, in R. Pearson and W. Uricchio (eds) The Many Lives of the Batman: Critical Approaches to a Superhero and his Media. New York: Routledge, 49.
3 Note that ei Independent Cinema recently rebranded themselves as POP Cinema.
4 This is a quote from a Seduction Cinema press release, provided by Paige Kay Davis.
5 M. Raso. Interview with the author, June 2008.
6 From the author’s email correspondence with P. K. Davis.
7 M. Raso. Publicity Glossy for Kinky Kong (2006).
8 D. Andrew (2006) Soft in the Middle: The Contemporary Soft-core Feature in its Contexts. Columbus, OH: Ohio State University Press, 232.
9 I. Q. Hunter (2006) ‘Tolkien Dirty’, in E. Mathijs (ed.) The Lord of the Rings: Popular Culture in Global Context. London: Wallflower Press, 321.
10 M. Raso, quoted in D. Andrew (2004) ‘Just One of the Lesbian Vampire Guys: A Conversation with Seduction Cinema’s Michael Raso’, Bridge, 13, 33.
11 I. Q. Hunter (2006) ‘Tolkien Dirty’, in E. Mathijs (ed.) The Lord of the Rings: Popular Culture in Global Context. London: Wallflower Press, 319.
12 Spiderbabe. DVD back cover blurb.
13 C. Fischer (1992) ‘Beyond the Valley of the Dolls and the Exploitation Genre’, The Velvet Light Trap, 30, 20.
14 T. West, quoted in B. Hallenbeck (2003) ‘Lord of the Muse’, Alternative Cinema, 20, 42.
15 M. Raso. Interview with the author, June 2008.
16 P. Grainge (2007) Brand Hollywood: Selling Entertainment in a Global Media Age. London: Routledge, 12.
CHAPTER 9
1 See F. Attwood (2002) ‘Reading Porn: The Paradigm Shift in Pornography Research’, Sexualities, 5 (1), 91–105; C. Smith (2007) One for the Girls!: The Pleasures and Practices of Reading Women’s Porn. Bristol: Intellect; L. Williams (1990) Hard Core: Power, Pleasure, and the ‘Frenzy of the Visible’. London: Pandora.
2 Another pornographic take on A Clockwork Orange, discovered too late for inclusion in this essay, is Avantgarde Extreme 53 Scatwork Orange (Simon Thaur, 2007), a scatological fetish DVD directed by the owner of Berlin’s KitKat Club.
3 R. Burt (1998) Unspeakable ShaXXXspeares: Queer Theory and American Kiddie Culture. New York: St. Martin’s Press, 77–124. On exploitation cinema generally considered as a mode of adaptation, see I. Q. Hunter (2009) ‘Exploitation as Adaptation’, Scope: An Online Journal of Film & TV Studies, 15 (November) and Iain Robert Smith (ed.) (eBook) Cultural Borrowings: Appropriation, Reworking, Transformation, 8–33. On-line: http://www.scope.nottingham.ac.uk/cultborr/chapter.php?id=5. Accessed 27 May 2010.
4 See J. Staiger (2003) ‘The Cultural Productions of A Clockwork Orange’ in S. Y. McDougal (ed.) Stanley Kubrick’s A Clockwork Orange. Cambridge: Cambridge University Press, 37–60; and M. DeRosia (2003) ‘An Erotics of Violence: Masculinity and (Homo)sexuality in Stanley Kubrick’s A Clockwork Orange’, in S. Y. McDougal (ed.) Stanley Kubrick’s A Clockwork Orange. Cambridge: Cambridge University Press, 61–84.
5 On porn versions of The Lord of the Rings, see I. Q. Hunter (2006) ‘Tolkien Dirty’, in E. Mathijs (ed.) Lord of the Rings: Popular Culture in Global Context. London: Wallflower Press, 317–33.
6 P. Kael (1972) ‘Stanley Strangelove’, The New Yorker, 48 (1 January), 50.
7 J. Staiger (2003) ‘The Cultural Productions of A Clockwork Orange’ in S. Y. McDougal (ed.) Stanley Kubrick’s A Clockwork Orange. Cambridge: Cambridge University Press, 44.
8 On the relation between A Clockwork Orange and exploitation films, see I. Q. Hunter (2008) ‘A Clockwork Orange, Exploitation and the Art Film’, in S. Martin (ed.) Recycling Culture(s). Newcastle upon Tyne: Cambridge Scholars Publishing, 11–20.
9 L. R. Williams (2005) The Erotic Thriller in Contemporary Cinema. Edinburgh: Edinburgh University Press, 397.
10 R. P. Kolker (2003) ‘A Clockwork Orange … ticking’, in S. Y. McDougal (ed.) Stanley Kubrick’s A Clockwork Orange. Cambridge: Cambridge University Press, 32.
11 See S. Marcus (1966) The Other Victorians: A Study of Sexuality and Pornography in Mid-Nineteenth Century England. London: Weidenfeld & Nicholson.
12 J. W. Slade (2006) ‘Margins to Mainstream: Pornography Refreshes American Culture’, in R. Kick (ed.) Everything You Know about Sex is Wrong: The Disinformation Guide to the Extremes of Human Sexuality (and Everything in Between). New York: The Disinformation Company, 143.
13 T. Krzywinska (1999 ‘Cicciolina and the Dynamics of Transgression and Abjection in Explicit Sex Films’, in M. Aaron (ed.) The Body’s Perilous Pleasures: Dangerous Desires and Contemporary Culture. Edinburgh: Edinburgh University Press, 188–209.
14 G. Genette (1997) Palimpsests: Literature in the Second Degree. Trans. C. Newman and C. Doubinsky. Lincoln, NE: University of Nebraska Press, 4.
15 See I. Q. Hunter (2006) ‘Tolkien Dirty’, in E. Mathijs (ed.) Lord of the Rings: Popular Culture in Global Context. London: Wallflower Press, 317–33.
16 L. Williams (1990) Hard Core: Power, Pleasure, and the ‘Frenzy of the Visible’. London: Pandora, 48.
17 See A. Jukes (1993) Why Men Hate Women. London: Free Association Books, 208–22; L. Kipnis (1999) Bound and Gagged: Pornography and the Politics of Fantasy in America. Durham: Duke University Press, 179–88; and J. Stoltenberg (1989) Refusing To Be a Man. Portland, OR: Breitenbush Books, 44.
18 See L. Kipnis (1999) Bound and Gagged: Pornography and the Politics of Fantasy in America. Durham: Duke University Press, 185–6.
20 L. Williams (1991) ‘Film Bodies: Gender, Genre, and Excess’, Film Quarterly, 44 (4), 4.
21 M. Csikszentmihalyi (2002) Flow: The Classic Work on How to Achieve Happiness. London: Rider.
22 See M. E. P. Seligman (2002) Authentic Happiness: Using the New Positive Psychology to Realize Your Potential for Lasting Fulfillment. New York: Free Press, 118–19.
23 On masturbation and meditation, see M. Cornog (2003) The Big Book of Masturbation: From Angst to Zeal. San Francisco: Down There Press, 183–8.
24 The pioneering texts here are M. S. Davis (1983) Smut: Erotic Reality/Obscene Reality. Chicago: University of Chicago Press; D. Loftus (2002) Watching Sex: How Men Really Respond to Pornography. New York: Thunder’s Mouth Press; S. MacDonald (1983) ‘Confessions of a Feminist Porn Watcher’, Film Quarterly 36 (3), 10–17; C. Nagel (2002) ‘Pornographic Experience’, Journal of Mundane Behavior, 3 (1), http://www.mundanebehavior.org/issues/v3n1/nagel3-1.htm. Accessed 21 December 2005); and P. Willemen (2004) ‘For a Pornoscape’, in P. Church Gibson (ed.) More Dirty Looks: Gender, Pornography and Power. London: British Film Institute, 9–26.
CHAPTER 11
1 Quoted in S. Faludi (1995) ‘The Money Shot’, The New Yorker, October 13, 70.
2 As William Ian Miller describes it, ‘disgust is there to prevent the activation of unconscious desire, or, more precisely, disgust is part of the very process of repression that makes such desires unconscious’; in The Anatomy of Disgust (1997), Cambridge: Harvard University Press, 109.
3 On Arbuckle and comedy, see J. P. Telotte (1988) ‘Arbuckle Escapes’, Journal of Popular Film and Television, 15, 4, 172–9.
4 On the subject of these and other ‘gross’ film genres, see W. Paul (1994) Laughing Screaming: Modern Hollywood Horror and Comedy. New York: Columbia University Press. The most important piece of work on ‘body-genres’ remains L. Williams (1991) ‘Film Bodies: Gender, Genre, and Excess’, Film Quarterly, 44, 4, 141–59.
5 P. Mellencamp (1992) ‘Jokes and Their Relation to TV’, in High Anxiety: Catastrophe, Scandal, Age, and Comedy. Bloomington: Indiana University Press, 337.
6 A. Carter (1978) The Sadeian Woman and the Ideology of Pornography. New York: Harper & Row, 16.
7 See M. Bakhtin (1984) Rabelais and His World. Bloomington. Indiana University Press.
8 L. Kipnis (1993) ‘(Male) Desire and (Female) Disgust: Reading Hustler’, in Ecstasy Unlimited: On Sex, Capital, Gender, and Aesthetics. Minneapolis: University of Minnesota Press, 219–42; L. Kipnis (1996) Bound and Gagged: Pornography and the Politics of Fantasy in America. New York. Grove Press; and C. Penley (1997) ‘Crackers and Whackers: The White Trashing of Porn’, in M. Wray and A. Newitz (eds) White Trash: Race and Class in America. New York: Routledge, 89–112.
9 See N. Armstrong (1990) ‘The Pornographic Effect: A Response’, American Journal of Semiotics, 7, 27–44; A. Dworkin (1989) Pornography: Men Possessing Women. New York: Plume; S. Gubar (1989) ‘Representing Pornography: Feminism, Criticism, and Depictions of Female Violation’, in S. Gubar and J. Hoff (eds) For Adult Users Only: The Dilemma of Violent Pornography. Bloomington: Indiana University Press, 47–67.
10 See L. Williams (1995) ‘Corporealized Observers: Visual Pornographies and the “Carnal Density of Vision”’, in P. Petro (ed.) Fugitive Images: From Photography to Video. Bloomington: Indiana University Press; and L. Williams (1989) Hard Core: Power, Pleasure, and the ‘Frenzy of the Visible’. Berkeley: University of California Press.
11 See, for example, F. Ferguson (1995) ‘Pornography: The Theory’, in Critical Inquiry, 21, 670–95.
12 C. Patton (1996) ‘Visualizing Safe Sex’, in Fatal Advice: How Safe-Sex Education Went Wrong. Durham: Duke University Press, 128.
14 See T. Gunning (1989) ‘An Aesthetic of Astonishment: Early Film and the (In)Credulous Spectator’, in Art and Text, 34, 818–32; T. Gunning (1996) ‘The Cinema of Attractions: Early Film, Its Spectator, and the Avant-Garde’, in Wide Angle, 8, 63–70; T. Gunning (1991) ‘From Obscene Films to High-Class Drama’, in D.W. Griffith and the Origins of American Silent Film, Illinois: University of Illinois Press, 43-67; T. Gunning (1996) ‘“Now You See It, Now You Don’t”: The Temporality of the Cinema of Attractions’ in R. Abel (ed.) Silent Film. London: British Film Institute, 95–103; and T. Gunning (1996) and ‘Primitive Cinema’: A Frame-Up? Or, the Trick’s On Us’ in R. Abel (ed.) Silent Film. London: British Film Institute, 3–12.
15 See N. Burch (1990) Life to Those Shadows. Cambridge: Harvard University Press; M. Hansen (1991) Babel and Babylon: Spectatorship in American Silent Film. Cambridge: Harvard University Press; and L. Williams (1986) ‘Film Body: An Implantation of Perversions’, in P. Rosen (ed.) Narrative, Apparatus, Ideology: A Film Theory Reader. New York: Columbia University Press.
16 K. Silverman (1983) The Subject of Semiotics. New York: Oxford University Press, 61.
17 B. Kaite (1995) Pornography and Difference. Bloomington: Indiana University Press, 80.
18 See S. Stewart (1991) ‘The Marquis de Meese’, in Crimes of Writing: Problems in the Containment of Representation. Durham: Duke University Press, 235–72.
19 L. Kipnis (1996) Bound and Gagged: Pornography and the Politics of Fantasy in America. New York. Grove Press, 95.
20 See L. Berlant (1996) ‘America, “Fat”, the Fetus’, in The Queen of America Goes to Washington City. Durham: Duke University Press, 83–144.
CHAPTER 12
4 A. McKee (2006) The Aesthetics of Pornography: The Insights of Consumers, Journal of Media & Cultural Studies, 20, (4), 524.
6 C. Smith (2007) One for the Girls!: The Pleasures and Practices of’Reading Women’s Porn. Bristol: Intellect.
7 Z. F. Parvez (2006) ‘The Labor of Pleasure: How Perceptions of Emotional Labor Impact Women’s Enjoyment of Pornography’, Gender and Society, 20 (5), 605–63.
8 ‘Maggie’; interview with the author, 22 March 2007. All interviewee names have been changed.
9 G. Greer (1971) The Female Eunuch. London: McGraw Hill.
10 ‘Judith’; interview with the author, 13 January 2007.
11 See B. McNair (2002), Striptease Culture: Sex, Media and the Democratization of Desire. London: Routledge.
12 See A. Levy (2005) Female Chauvinist Pigs: Women and the Rise of Raunch Culture. New York: Free Press; and P. Paul (2005) Pornified: How Pornography is Transforming our Lives, Our Relationships and Our Families. New York: Times Books.
13 ‘Angela’; interview with the author, 2 February 2007.
14 ‘Chris’; interview with the author, 20 February 2007.
15 N. Crossley (2006) ‘In the Gym: Motives, Meaning and Moral Careers’, in Body and Society, 12 (3), 31.
16 ‘Chris’; interview with the author, 20 February 2007.
17 N. Crossley (2006) ‘In the Gym: Motives, Meaning and Moral Careers’, in Body and Society, 12 (3), 32.
18 ‘Angela’; interview with the author, 2 February 2007. The films discussed here are Pam and Tommy Lee: Stolen Honeymoon, directed by Tommy Lee, Internet Entertainment Group, 1998; 1 Night in Paris, directed by Rick Salomon, Red Light District, 2004; Casting Cuties 4, directed by Phil Barry, Pumpkin Films, 2006; Ben Dover is the nom de porn of Simon Lindsay Honey, British actor and director of the Ben Dover series of films made in the UK between 1996 and 2002.
19 ‘Maggie’; interview with the author, 22 March 2007.
20 ‘Judith’; interview with the author, 13 January 2007.
21 ‘Chris’; interview with the author, 20 February 2007.
22 ‘Samantha’, interview with the author, 16 December 2006.
23 ‘Angela’; interview with the author, 2 February 2007. The film discussed here is Anna’s Mates, produced and directed by Anna Span, Easy on the Eye Productions, 2002.
24 ‘Chris’; interview with the author, 20 February 2007. The film discussed here is The New Devil in Miss Jones, directed by Paul Thomas, Vivid Entertainment, 2005.
26 ‘Samantha’, interview with the author, 16 December 2006.
28 ‘Samantha’, interview with the author, 16 December 2006.
CHAPTER 13
1 Fairbanks, H. (1976) NewsWest, April 30–May 14.
2 P. G. Springer (1977) ‘The World’s No. 1 Voyeur’, The Advocate, 9 March, 3.
4 G. Kuchar and M. Kuchar (1997) Reflections From a Cinematic Cesspool. Berkeley: Zanja Press, 57.
5 J. Ward, Final Accounting – Lunch, 1975.
6 C. McDowell (1974) Diaries, vol. 26, 17 April.
7 G. Kuchar. Video Interview (2004). Included as supplement on Thundercrack. Dir. Curt McDowell, 1976. DVD. Synapse Films, 2011.
8 Certificate, 1. Marion Eaton, promoting the film in 1977 when it screened at the Seattle Film Festival, used these identical figures when asked about the movie’s budget. See J. Hartl (1977) ‘Could it Happen Here?’, Seattle Times, 31 May.
9 See J. Hartl (1977) ‘Could It Happen Here?’, Seattle Times, 31 May.
10 C. McDowell (1975) Diaries, vol. 27, 13 March.
17 For an analysis of the relationship between sexual acts and narrative in the porn feature of the 1970s and 1980s, see L. Williams (1990) Hard Core: Power, Pleasure, and the ‘Frenzy of the Visible’. Berkeley: University of California Press.
18 C. McDowell (1975) Diaries, vol. 27, 24 March.
20 C. McDowell (1976) Diaries, vol. 28, January 23.
21 G. Kuchar and M. Kuchar (1997) Reflections From a Cinematic Cesspool. Berkeley: Zanja Press, 39.
22 C. McDowell (1976) Diaries, vol. 28, 7 February.
23 Anon. (1976) ‘Thundercrack!’, Daily Variety, 2 April.
24 T. McCarthy (1976) ‘FILMEX Review: Thundercrack!’, The Hollywood Reporter, April 2.
25 J. Michaels (1977) ‘Cracking Thundercrack!’, The Advocate, n.d.
28 Return of Income, 1977.
31 Return of Income, 1978.
32 C. McDowell (1976) Diaries, vol. 28, 18 February.
35 D. Edwards (1976) FILMEX Programme Notes, Thundercrack!
CHAPTER 14
1 L. Williams (1999) Hard Core: Power, Pleasure, and the ‘Frenzy of the Visible’. Berkeley: University of California Press, 199.
2 See T. E. Morgan (1989) ‘A Whip of One’s Own: Dominatrix Pornography and the Construction of a Postmodern (Female) Subjectivity’, The American Journal of Semiotics, 6 (4), 109–36.
3 S. A. Inness (1999) Tough Girls: Women Warriors and Wonder Women in Popular Culture. Philadelphia: University of Pennsylvania Press, 25.
4 V. Steele (2001) ‘Fashion, Fetish, Fantasy’, in E. Tseëlon (ed.) Masquerade and Identities: Essays on Gender, Sexuality and Marginality. London: Routledge, 74.
5 C. Shortes (1998) ‘Cleaning Up a Sewer’, Journal of Popular Film and Television, 26 (2), 72.
6 L. Williams (1999) Hard Core: Power, Pleasure, and the ‘Frenzy of the Visible’. Berkeley: University of California Press, 195.
8 V. Steele (2001) ‘Fashion, Fetish, Fantasy’, in E. Tseëlon (ed.) Masquerade and Identities: Essays on Gender, Sexuality and Marginality. London: Routledge, 76.
9 Butler, J. (1990) Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge; see aso J. Riviere (1929) ‘Womanliness as Masquerade’, International Journal of Psycho-analysis, 10, 303–13.
10 Y. Tasker (1998) Working Girls: Gender and Sexuality in Popular Culture. London: Routledge.
11 J. A. Brown (2004) ‘Gender, Sexuality and Toughness: The Bad Girls of Action Film and Comic Books’, in S. A. Inness (ed.) Action Chicks: New Images of Tough Women in Popular Culture. Basingstoke: Palgrave Macmillan, 47–74.
14 Ibid., 69; see T. E. Morgan (1989) ‘A Whip of One’s Own: Dominatrix Pornography and the Construction of a Post-modern (Female) Subjectivity’, The American Journal of Semiotics, 6 (4), 109–36.
15 C. Penley (2004) ‘Crackers and Whackers: The White Trashing of Porn’, in L. Williams (ed.) Porn Studies. Durham: Duke University Press, 314.
16 B. Creed (1986) ‘Horror and the Monstrous-Feminine: An Imaginary Abjection’, Screen, 27 (1), 44–54.
17 S. Sontag (1969 [1964]) ‘Notes on Camp’, in Against Interpretation and Other Essays. New York: Laurel. 277–93.
18 T. E. Morgan (1989) ‘A Whip of One’s Own: Dominatrix Pornography and the Construction of a Postmodern (Female) Subjectivity’, The American Journal of Semiotics, 6 (4), 109.
19 J. Butler (1997) The Psychic Life of Power: Theories in Subjection. Stanford: Stanford University Press, 83.
CHAPTER 15
1 Anon. (1968) ‘Go-sha no pinku kôgeki’ kusokurae!’ (‘Five [major] companies Pink attack eat shit!’), Seijin Eiga, 33 (10), 4–9.
2 See I. Yomota (2000) Nihon eiga shi 100 nen (100 Years of Japanese Film History). Tokyo: Shûeisha; and T. Satô (2006) Nihon eiga shi 3 (1960–2005) (Japanese Film History 3 (1960–2005)). Tokyo: Iwanami Shoten.
3 See M. Murai (1964) ‘5-sha o Obiyakasu 300 Man Yen Eiga’, Eiga Geijutsu, 12 (9), 93–5; and E. Takahashi (1969) ‘Gosha no Shijô o Doko Made Kutte Iru Ka’, in S. Takamaro (ed.) Pinku Eiga Hakusho. Tôkyô: Kinema Junpô-sha, 189–95.
4 E. Takahashi (1969) ‘Gosha no Shijô o Doko Made Kutte Iru Ka’, in S. Takamaro (ed.) Pinku Eiga Hakusho. Tôkyô: Kinema Junpô-sha, 189–95.
CHAPTER 16
2 See cover of DVD edition of Chained Girls/Daughters of Lesbos, released by Something Weird Video in 2003. Jenni Olson (2004) also comments on this use of punctuation in The Queer Movie Poster Book. San Francisco: Chronicle Books, 33.
3 See M. Foucault (1990) The History of Sexuality: Volume One. Trans. R. Hurley. London: Penguin.
4 J. Olson (2004) The Queer Movie Poster Book. San Francisco: Chronicle Books, 34.
5 See the press book that accompanies the Vintage Collection DVD edition of That Tender Touch, released by Wolfe Video in 2007.
8 P. Cook (2005) ‘The Perils and Pleasures of Exploitation Films’, in Screening the Past: Memory and Nostalgia in Cinema. London: Routledge, 55.
12 See press book, That Tender Touch.
13 See T. Elsaesser (1987) ‘Tales of Sound and Fury: Observations on the Family Melodrama’ in C. Gledhill (ed.) Home Is Where the Heart Is: Studies in Melodrama and the Woman’s Film. London: British Film Institute, 43–69.
14 H. Benshoff and S. Griffin (2006) Queer Images: A History of Gay and Lesbian Film in America. Rowman & Littlefield, 69.
16 M. Kort (2007) ‘Lesbian Grindhouse’, The Advocate, 22 May, 45.
18 J. Olson (2004) The Queer Movie Poster Book. San Francisco: Chronicle Books, 33.
19 See S. Bright and J. Posener (1996) Nothing But the Girl: The Blatant Lesbian Image. London: Cassell. Cottrell’s photography also appeared in the lesbian sex magazine, On Our Backs.
20 See cover of DVD edition of Sugar High Glitter City, released by SIR in 2001.
21 H. Butler (2004) ‘What Do You Call a Lesbian With Long Fingers?: The Development of Lesbian and Dyke Pornography’, in L. Williams (ed.) Porn Studies. Durham: Duke University Press, 181–2.
23 See R. Rhyne (2007) ‘Hard-Core Shopping: Educating Consumption in SIR Video Production’s Lesbian Porn’, The Velvet Light Trap, 59, 46.
26 See C. Smyth (1990) ‘The Pleasure Threshold: Looking at Lesbian Pornography on Film’, Feminist Review, 34, 152–9; H. Butler (2004) ‘What Do You Call a Lesbian With Long Fingers?: The Development of Lesbian and Dyke Pornography’, in L. Williams (ed.) Porn Studies. Durham: Duke University Press, 167–97; and R. Rhyne (2007) ‘Hard-Core Shopping: Educating Consumption in SIR Video Production’s Lesbian Porn’, The Velvet Light Trap, 59,42–50.
27 See J. Butler (1990) Gender Trouble. London: Routledge.
28 R. Rhyne (2007) ‘Hard-Core Shopping: Educating Consumption in SIR Video Production’s Lesbian Porn’, The Velvet Light Trap, 59, 47.
29 Back cover DVD edition, Sugar High Glitter City.
CHAPTER 17
1 C. Jenks (1992) ‘The Other Face of Death: Barbara Steele and La Maschera del demonio’, in R. Dyer and J. Vicendeau (eds) Popular European Cinema. London: Routledge, 149–62.
2 See X. Mendik (2004) ‘Black Sex, Bad Sex: Monstrous Ethnicity in the Black Emanuelle Films’, in E. Mathijs and X. Mendik (eds) Alternative Europe: Eurotrash and Exploitation Cinema Since 1945. London: Wallflower Press, 146–59.
3 See P. MacCormack (2004) ‘Masochistic Cine-Sexuality: The Many Deaths of Giovanni Lombardo Radice’, in E. Mathijs and X. Mendik (eds) Alternative Europe: Eurotrash and Exploitation Cinema Since 1945. London: Wallflower Press, 106–16.
4 See J. Fay (2004) ‘The School Girl Reports and the Guilty Pleasure of History’, in E. Mathijs and X. Mendik (eds) Alternative Europe: Eurotrash and Exploitation Cinema Since 1945. London: Wallflower Press, 39–52.
CHAPTER 19
1 C. Milliken (1988) ‘Unheimlich Manoeuvres: The Genres and Genders of Transssexual Documentary’, Velvet Light Trap, 41, 47–61.
2 L. Feinberg (1993) Stone Butch Blues. Ann Arbor: Firebrand Books.
3 L. Cameron (1996) Body Alchemy Transsexual Portraits. Berkeley: Cleis Press.
4 C. Milliken (1988) ‘Unheimlich Manoeuvres: The Genres and Genders of Transssexual Documentary’, Velvet Light Trap, 41, 49.
5 L. Kaplan (1991) Female Perversions. New York: Doubleday, 9.
6 L. Kipnis (1999) Bound and Gagged: Pornography and the Politics of Fantasy in America. Durham: Duke University Press, 201.
7 B. Creed (1993) The Monstrous Feminine: Film, Feminism, Psychoanalysis. Routledge: London, 104.
8 R. Dyer (2002) The Culture of Queers. Routledge: New York, 206.
9 L. Kipnis (1999) Bound and Gagged: Pornography and the Politics of Fantasy in America. Durham: Duke University Press, 164.
CHAPTER 20
1 G. Robertson and A. Nicol (2008) Media Law. Fifth edition. London: Penguin, 206.
4 J. Petley (2000) ‘“Snuffed out”: Nightmares in a Trading Standards Officer’s Brain’, in X. Mendik and G. Harper (eds) Unruly Pleasures: The Cult Film and its Critics. Guildford: FAB Press, 203–19.
5 For further testimony by victims of these raids see G. D. (1994) ‘Raided!’, Invasion of the Sad Man-Eating Mushrooms, 33–5; D. Prothero (1994) ‘Hell screen’, Shivers, 10, January; D. Kerekes and D. Slater (2000) See No Evil: Banned Films and Video Controversy. Manchester: Headpress; and the letters columns of The Dark Side, nos. 31, 42, 44 and 72.
6 HL Debs, Vol. 701, Col. 269, 30 April 2008.
7 Joint Committee on Human Rights (2008) Legislative Scrutiny: Criminal Justice and Immigration Bill. London: The Stationery Office, 15.
13 HC Debs, Vol. 464, Col. 60, 8 October 2007.
14 HC Debs, Vol. 113, Col. 1359, 3 April 1987.
15 HL Debs, Vol. 700, Cols. 1358–9, 21 April 2008.
16 HC Debs, Vol. 113, Col. 1355, 3 April 1987.
17 HL Debs, Vol. 699, Col. 895, 3 March 2008.
18 S. Sontag (1981) Under the Sign of Saturn. New York: Vintage Books, 103.
19 Responses to the consultation were initially available on the Home Office website. However, they are no longer there.
20 HL Debs, Vol. 701, Col. 271, 30 April 2008.
CHAPTER 21
1 E. Schaefer (2006) Bold! Daring! Shocking! True!: A History of Exploitation Films, 1919–1959. Durham: Duke University Press, 338.
3 T. Krzywinska (2006) Sex and the Cinema. London: Wallflower Press, 42.
5 J. Lacan, J. (1998) Encore: The Seminar of Jacques Lacan Book XX. Trans. B. Fink. New York: W. W.Norton, 7.
6 F. Fanon (1994) ‘On National Culture’, in P. Williams and L. Chrisman (eds) Colonial Discourse and Post-colonial Theory. New York: Columbia University Press, 37.
7 T. Krzywinska (2006) Sex and the Cinema. London: Wallflower Press, 42.
8 Bataille, G. (1985) Visions of Excess: Selected Writings, 1927–1939. Trans. A. Stoekl. Minneapolis: University of Minnesota Press, 119.
9 T. Krzywinska (2006) Sex and the Cinema. London: Wallflower Press, 43.
10 G. Bataille (2001) Eroticism. Trans. M. Dalwood. London: Penguin, 117–18.
11 L. Pearce (2007) Romance Writing. Cambridge: Polity Press, 2.
12 G. Deleuze and F. Guattari (1984) Anti-Oedipus: Capitalism and Schizophrenia. Trans. R. Hurley and H. Lane. London: Continuum, 127.
13 T. Krzywinska (2006) Sex and the Cinema. London: Wallflower Press, 45.