Dressing For Pleasure is a 1977 25-minute documentary directed by John Samson, who made a career out of films about outsider topics (e.g. tattoos, competitive darts, the sexual lives of disabled people).
Lying somewhere on the boundary between affectionate fetishism and domestic violence, spankings between lovers or would-be lovers were a staple of Hollywood romance movies. Jezebel has a pictorial and essay on the subject, by Andrew Heisel. This was reflected in real-life practices of the time, when husbands were expected to treat their lives like children.
- An article (part 1, part 2, part 3) on a body modifications blog covered an alleged Victorian fad for nipple piercing. The source is letters published in correspondence columns in magazines, which as we have seen in the Englishwoman’s Domestic Magazine and others, are questionable to say the least. They’re more indicative of interest and fantasies than actual practice.
- Jahsonic’s list of sadism and masochism in mainstream film brought me to Senses of Cinema’s article “Whips and Bodies: The Sadean Cinematic text” by Lindsay Hallam, on the influence of Sade’s work on film. “It was Surrealist Luis Buñuel who first introduced Sade into the cinematic realm. In the 1930 film L’Âge d’or, Buñuel chose to end his tale of erotic passion with a scene taken from Sade’s novel The 120 Days of Sodom. The scene takes place after the male protagonist has been betrayed by the woman he loves – that is, normal, heterosexual romance has failed. In fact, as the intertitles state, it is at “that moment” of betrayal that “the survivors of the Chateau de Selliny were coming out, to go back to Paris”. The intertitles further explain that: “Four well known and utter scoundrels had locked themselves up in an impregnable castle for 120 days to celebrate the most brutal of orgies”.”
- Another short history of bondage imagery in mainstream film and history, mostly damsel-in-distress-type stuff.
- Conspiracy theorist and professional crank Alex Jones was inspired by the debut of Caitlin Jenner to spit out this bizarre claim about the transabled sub-sub-culture: “Or they like to get shot,” Jones said, “With .357 magnums through up under the chest, but missing the heart to blow a huge shrapnel hole in the back, and those are real sexy supposedly… This is the new big push and you’re not cool enough to understand how wonderful it is to be shot with a .357 magnum or how cool the bullet holes are… It’ll become sanctified. It’ll become a religion.”
- The contract Leopold von Sacher-Masoch had with Fanny Pistor, compared to the contract from Venus in Furs.
- Bitch Media covers the history of anti-abuse activism in BDSM, specifically the conflict over Fetlife’s policy against accusing people of abuse.
- A short, anonymous history of Numa Shozo’s masochistic novel Yapoo the Human Animal.
- Annalspornographie has a three-part article (part 1, part 2, part 3) on the life and work of the Marquis de Sade, including some vintage images.
My apologies for addressing the film adaptation of Fifty Shades of Grey so late. I obtained one copy of the film through admittedly dubious means (let’s just say the text messages are in Spanish), and another in which the subtitles were in originally in, I think, Thai, then covered up by another layer of subtitles in Spanish, and all the explicit sex was cut.
Beyond all that, I could only watch about five minutes at a time. Somebody asked me how I got through the film and I joked, “I kept a fifth of Scotch handy.”
As of this writing, Fifty Shades of Grey holds a 32% rating on Rotten Tomatoes, a 47 on MetaCritic, and a 3.1 on IMDB. Suffice to say, it won’t sweep the Oscars next year. I do predict it will do well at the Golden Raspberries. Its loyal fanbase will probably guarantee a commercially successful opening weekend and a lot of DVD sales, but I suspect it will do poorly in the long run.
I am a little disappointed we won’t see little CGI chibi versions of Dakota Johnson’s subconscious and inner goddess hopping around.
I want to give some signal boost to True Stories productions’ documentary-in-progress Black Pervert: the f***ing history of a double minority, both because I like to support BDSM history projects in general, and because POCs deserve more representation and recognition in kink. I look forward to seeing this.
Arguably the best known Nazisploitation film (though Love Camp 7 (1969) is usually cited as the first), Ilsa: She Wolf of the SS was a US-Canadian production (and shot on the exterior old sets for Hogan’s Heroes, according to one source). It starred Dyanne Thorne as the titular concentration camp commandant, impeccably crisp in a black, white and red SS uniform.
The women sent to Ils’a camp are divided into two groups. One gets sent to “work details” of serving the men in the guard house. The other gets beaten, electrocuted, boiled, suffocated and more in “experiments” overseen by Ilsa and her female assistants. Ilsa’s ostensible reason for all of this is to demonstrate that women can withstand as much pain as men, and therefore prove that women can serve the Reich by fighting on the front line.
The male prisoners each get one night with Ilsa, after which they’re castrated.
Magillow, Daniel H., Bridges, Elizabeth, and Vander Lugt, Kristen T. Nazisploitation! the Nazi image in low-brow cinema and culture. Continuum Books, 2012 Amazon
Nazisploitation, or sadiconazista, is one of the most scorned film genres, and also one of the most complex. The films grouped under that heading may share a common aesthetic but have very different productions and meanings, which this anthology tries to map.
…the standard tropes, settings and narrative conceits of Nazisploitation cinema [include]: sexually perverted, calculating and sadistic Nazi officers, prisoner-of-war and concentration camps, medical experimentation and prisoner rebellions. [Pg.2]
Despite Vimeo attributing it to Marc Campbell, IMDB lists it as Dressing for Pleasure (1977) directed by John Samson and Mike Wallington, about the 1970s UK leather/rubber/latex scene. Including interviews with John Sutcliffe of Atomage fame, and a clerk at McLaren-Westwood’s SEX shop.
I like the framing device of the models posing in and around a giant book printed, as if the people in the photos and illustrations of something like John Willie’s Bizarre or an Atomage catalogue magically came to life.
My Retrospace has a feature on the “monster carrying woman” shot, so ubiquitous in horror/Gothic film that Famous Monsters of Filmland remarked upon it.