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Search Results for sexploitation

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Journal Article
Camera Obscura (2011) 26 (3 (78)): 95–135.
Published: 01 December 2011
...Elena Gorfinkel American sexploitation cinema of the 1960s and early 1970s has gained a second life in the past two decades through a boom in video and DVD distribution and rerelease, and consequently a new, generationally distinct audience. This article proposes that what appeals to cult audiences...
Journal Article
Camera Obscura (2011) 26 (3 (78)): 137–145.
Published: 01 December 2011
...Elena Gorfinkel Anna Biller, Los Angeles independent filmmaker, director, writer, producer, and star of the retro-sexploitation film Viva (2007) discusses her creative influences and production practice. Discussing the value of discarded generic modes such as 1960s sexploitation film and the use...
Journal Article
Camera Obscura (2017) 32 (2 (95)): 29–61.
Published: 01 September 2017
...-­sexploitation filmViva (US, 2007), Elena Gorfinkel describes filmmaker Anna Biller as “a woman working through a set of dramatic and generic devices authored primarily by men and organized around male desire.”60 The same designation could easily be applied to Kane, whose work often features...
Journal Article
Camera Obscura (2013) 28 (2 (83)): 45–75.
Published: 01 September 2013
...’ images of the past and live sounds in the present produces an experience that refuses his- torical distance but that fuses the past and the now. These films seem all the more atemporal because they do not, to my eyes at least, suffer the camp failures of so much sexploitation cinema that would...
Journal Article
Camera Obscura (2023) 38 (2 (113)): 89–117.
Published: 01 September 2023
..., “The Body's Failed Labor: Performance Work in Sexploitation Cinema,” Framework 53, no. 1 (2012): 79–98, https://doi.org/10.1353/frm.2012.0009 . 13. David K. Johnson, Buying Gay: How Physique Entrepreneurs Sparked a Movement (New York: Columbia University Press, 2019); Powell, Coming Together...
FIGURES
Journal Article
Camera Obscura (2011) 26 (1 (76)): 65–93.
Published: 01 May 2011
... drawing rooms, Long Island beach cottages, and ski country A-­frames.”28 While Blumenthal conceded that a mere stroll down Manhattan’s Forty-­second Street would reveal that this “sexploitation gone beserk” was pre-Deep Throat, he rightly credited 82  •  Camera Obscura the film with bringing...