By Douglas Keesey
From Last Tango in Paris to American Pie to Brokeback Mountain—a examine greater than a hundred erotic movies, with in-depth research and fascinating behind-the-scenes anecdotes
The first booklet to examine actually modern erotic cinema, this booklet offers in-depth analyses of intercourse scenes from more than 100 movies, greater than 1/2 them published within the twenty first century. starting with an outline of the way depictions of intercourse on monitor have replaced during the last forty years, with specific consciousness to censorship controversies, the ebook is split into 3 major parts—erotic genres, issues, and acts—and covers intercourse comedies, physique horror, alien intercourse, and erotic animation; homosexual, lesbian, bisexual, and trans motion pictures, videos approximately formative years, marriage, and infidelity; motion pictures facing incest, blasphemy, and dying; on-screen nudity and voyeurism, masturbation, oral and anal intercourse, the ménage à trois, and the orgy; and bestiality, rape and sadomasochism. the flicks mentioned comprise 9 Songs, undesirable schooling, Black Swan, Intimacy, final Tango in Paris, The Reader, The Wayward Cloud, Y Tu Mamá También and lots of extra.
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The ﬁlm is immersed in post-1968 politics, and is as much a stage for examining cinematic reﬂexivity, sexual politics, and the nature of revolutionary struggle, as it is a narrative about a series of happenings. ”20 Motoki appears to witness his own death (Turim likens the ﬁlm to Chris Marker’s La Jetée) and simultaneously appears to start the narrative game over again by reappearing as both dead ﬁgure and live Motoki in the repetition of the beginning of the ﬁlm. The ﬁlm positions itself — not unlike Rashomon — between the problematics of linguistic interpretation and visual mediumicity.
1 In ﬁlm and other visual media, while more often relegated to cultural tropes of struggle and resistance, rape is also often ﬁgured as an event that takes form only through the deforming scrims of doubt, veiling, and epistemological ﬁssure. Examples abound of cases where precisely the imaginary, visually indeterminate (but politically necessary) line between seduction and rape is given retroactive inspissation, thickened to the point of critical certainty. But once that line is set to solidify, it takes shape at the expense of interpretations that might suggest otherwise — and rape is, for the purposes of this chapter, an event that is always ever otherwise, challenging and undermining the very ontological category of being and is.
As a ﬁrst step, we must turn our attention from the text’s power to represent to its power to un-represent. In this light, A’s desire for deﬁnitive interpretation and X’s multiplication of interpretations are ironic. Neither character favors truly polyvalent interpretation: A proposes only two identities for the statue (Pyrrhus and Andromache, Helen and Agamemnon), but X privileges a single reading by excluding it. (“No, no, no. That’s wrong. ”) If, as Craig Owens claims, postmodernism is primarily to be understood as “a crisis of cultural authority” and a loss of seductiveness and mastery,25 Marienbad’s self-referential aspects and its deconstruction of all claims to authority foreground the postmodern character of the ﬁlm.
Contemporary Erotic Cinema by Douglas Keesey