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The Golden Age of Porn: Nostalgia and History in Cinema Susanna Paasonen and Laura Saarenmaa
Pornification 19/7/07 10:56 am Page 23 –2– The Golden Age of Porn: Nostalgia and History in Cinema Susanna Paasonen and Laura Saarenmaa The mainstreaming of pornography is indebted to the success of feature-length hardcore films of the 1970s. Shot on 35 mm film, productions such as Deep Throat (1972), Behind the Green Door (1972), The Devil in Miss Jones (1973), The Opening of Misty Beethoven (1976) and Debbie Does Dallas (1978) were widely screened both in the USA and internationally. These films have since been estab- lished as classics (Buscombe 2004: 30) and milestones in both scholarly and popular porn historiographies. While some identify the so-called ‘golden age of porn’ through North American legislation and as ranging from 1957 from 1973 (Lane 2000: 22–3), it was in the 1970s and early 1980s that porn shifted towards the mainstream. In a trend titled by the New York Times as porno chic, pornography became fashionable, gained mainstream publicity and popularity (McNair 2002: 62–3; Schaefer 2004: 371; Wyatt 1999). During the past decade, this golden age has been reminisced in films such as People Vs. Larry Flynt (1996), Boogie Nights (1997) and Rated X (2000), numerous documentaries – including the critically acclaimed Inside Deep Throat (2005) – and books.1 This body of popular porn historiography depicts the decade as one of quality films with real stories, personal performers and talented directors, in contrast to the 1980s of video distribution, inflation of the porn industry, rise of AIDS and conservative backlash. With notable exceptions such as the French Le pornographe (2001) and the Spanish–Danish co-production Torremolinos 73 (2003), European histories have not been reminisced to the same degree. -
NEW CLASSIC COLLECTIONS 7230 Coldwater Cyn Ave
NEW CLASSIC COLLECTIONS 7230 Coldwater Cyn Ave. N Hollywood, CA 91605 Toll Free: (800) 269-4457 Release Date Caballero : New Classic Collections UPC-A Qty. Price Jul-11 TRACEY ADAMS & FRIENDS #2 (view back cover) 805589919350 Jul-11 ASHLYN GERE & FRIENDS #2 (view back cover) 805589919367 Jul-11 CHRISTY CANYON COLLECTION (view back cover) 805589919374 Jul-11 ROCCO SIFFREDI COLLECTION (view back cover) 805589919381 Jun-11 SEKA CHRONICLES (view back cover) 805589919060 Jun-11 VANESSA DEL RIO CHRONICLES (view back cover) 805589919077 Jun-11 GINGER LYNN CHRONICLES (view back cover) 805589919084 Jun-11 KAY PARKER CHRONICLES (view back cover) 805589919091 Jun-11 JOHN HOLMES CHRONICLES (view back cover) 805589919107 Jun-11 ANDREW BLAKE CHRONICLES (view back cover) 805589919114 May-11 HYAPATIA LEE CHRONICLES (view back cover) 805589918780 May-11 KAITLYN ASHLEY CHRONICLES (view back cover) 805589918797 May-11 MEGAN LEIGH CHRONICLES (view back cover) 805589918803 May-11 NICOLE LONDON CHRONICLES (view back cover) 805589918810 May-11 RHONDA JO PETTY CHRONICLES (view back cover) 805589918827 May-11 TERI DRIVER CHRONICLES (view back cover) 805589918834 Apr-11 ASHLYN GERE CHRONICLES (view back cover) 805589918674 Apr-11 CHRISTY CANYON CHRONICLES (view back cover) 805589918681 Apr-11 HONEY WILDER CHRONICLES (view back cover) 805589918698 Apr-11 OLINKA CHRONICLES (view back cover) 805589918704 Apr-11 SUNNY MCKAY CHRONICLES (view back cover) 805589918711 Mar-11 GINGER LYNN & FRIENDS (view back cover) 805589918469 Mar-11 SEKA & FRIENDS 2 (view back cover) -
Caballero Classics 7230 Coldwater Cyn Ave
Caballero Classics 7230 Coldwater Cyn Ave. N Hollywood, CA 91605 Toll Free: (800) 269-4457 # Caballero Classics UPC-A Qty 1 BATTLE OF THE SUPERSTARS III- HYAPATIA LEE VS VICTORIA PARIS (view back cover) 805589915949 2 BATTLE OF THE SUPERSTARS III- ANNETTE HAVEN VS BRIDGETTE MONET (view back cover) 805589915956 3 BATTLE OF THE SUPERSTARS III- VERONICA HART VS RHONDA JO PETTY (view back cover) 805589915963 4 BATTLE OF THE SUPERSTARS III- HARRY REEMS VS JOHN LESLIE (view back cover) 805589915970 5 BATTLE OF THE SUPERSTARS III- LISA DE LEEUW VS SHARON MITCHELL (view back cover) 805589915987 6 USE IT OR LOSE IT (view back cover) 805589901430 7 DIAL A FOR ANAL (view back cover) 805589901447 8 GLEN & GLENDA (view back cover) 805589901454 9 SABOTAGE (view back cover) 805589901614 10 JADED LOVE (view back cover) 805589901591 11 $50,000,000 CHERRY (view back cover) 805730907540 12 14" TOOL TIME MEMORIES (view back cover) 005730916102 13 1-800-934-BOOB (view back cover) 805730911752 14 8 TO 4 (view back cover) 005589009017 15 9 ½” MARATHON (view back cover) 032105943067 16 A LITTLE NOOKIE (view back cover) 805730911448 17 A PUSSY TO DIE FOR (view back cover) 805589901140 18 A TASTE OF SEKA (view back cover) 805589101472 19 A TOTAL ECLIPSE OF THE MOON (view back cover) 805730907908 20 A.S.S (view back cover) 805730909322 21 ADULTRESS, THE (view back cover) 805589500954 22 ADVENTURES IN SAN FENLEU (view back cover) 805589127083 23 ADVENTURES OF MIKKI FINN, THE (view back cover) 805589900963 24 AH CARAMBA! (view back cover) 005589906392 25 AIR EROTICA -
Redalyc.Omissão Histórica E Repressão Psíquica Em Boogie
Matrizes ISSN: 1982-2073 [email protected] Universidade de São Paulo Brasil MODLESKI, TANIA Omissão histórica e repressão psíquica em Boogie Nights de Paul Thomas Anderson Matrizes, vol. 10, núm. 2, mayo-agosto, 2016, pp. 25-44 Universidade de São Paulo São Paulo, Brasil Disponível em: http://www.redalyc.org/articulo.oa?id=143049793003 Como citar este artigo Número completo Sistema de Informação Científica Mais artigos Rede de Revistas Científicas da América Latina, Caribe , Espanha e Portugal Home da revista no Redalyc Projeto acadêmico sem fins lucrativos desenvolvido no âmbito da iniciativa Acesso Aberto 25 Omissão histórica e repressão psíquica em Boogie Nights de Paul Thomas Anderson* Historical omission and psychic repression in Paul Thomas Anderson’s Boogie Nights TANIA MODLESKI** University of Southern California, Departamento de Língua Inglesa. Los Angeles − CA, Estados Unidos da América RESUMO Primorosamente filmado em estilo altmaniano e baseado nas cenas dos filmes de Mar- * Artigo publicado originalmente em World tin Scorsese e Quentin Tarantino, Boogie Nights – Prazer sem limites continua até hoje Picture 8, verão de 2013. a ser proclamado um ultramoderno e ousado olhar sobre a chamada Idade de Ouro do ** É professora de inglês cenário da pornografia da década de 1970. Neste ensaio, procuro documentar o que “Florence R. Scott” na esse filme deixa de fora quanto ao registro histórico e mostrar como a supressão histó- University of Southern California e a autora de rica se relaciona com a repressão psíquica. Em vez de história, nos apresenta melodra- Loving with a vengeance: mass produced fantasies ma. Em vez de um documento histórico, Boogie Nights nos proporciona, novamente, for women (2. -
Porning of America : the Rise of Porn Culture, What It Means, and Where We Go from Here / Carmine Sarracino and Kevin M
The Porning of America The Porning of America The Rise of Porn Culture, What It Means, and Where We Go from Here Carmine Sarracino and Kevin M. Scott beacon press boston Beacon Press 25 Beacon Street Boston, Massachusetts 02108-2892 www.beacon.org Beacon Press books are published under the auspices of the Unitarian Universalist Association of Congregations. © 2008 by Carmine Sarracino and Kevin Scott All rights reserved Printed in the United States of America 11 10 09 08 8 7 6 5 4 3 2 1 This book is printed on acid-free paper that meets the uncoated paper ANSI/NISO specifications for permanence as revised in 1992. Text design and composition by Wilsted & Taylor Publishing Services Library of Congress Cataloging-in-Publication Data Sarracino, Carmine The porning of America : the rise of porn culture, what it means, and where we go from here / Carmine Sarracino and Kevin M. Scott. p. cm. Includes index. ISBN 978-0-8070-6153-4 1. Pornography in popular culture—United States. 2. Pornography—Social aspects—United States. 3. Sex in popular culture—United States. I. Scott, Kevin M. II. Title. HQ472.U6S37 2008 306.77—dc22 2008008099 To Tamara, Dante, and Carina Sarracino and Mary Ann, Connor, and Maisie Scott— for their patience, support, and encouragement. Contents Introduction ix 1 Normalizing the Marginal 1 2 A Nation of Porn Stars 31 3 Popping Rosie’s Rivets: Porn in the Good Old Days 49 4 Porn Exemplars: Advancing the Front Lines of Porn 81 5 Would You Like Porn with That Burger? 117 6 The Nexus of Porn and Violence: Abu Ghraib and Beyond 137 7 Women and Porn 169 8 Where We Go from Here 195 Acknowledgments 223 Notes 225 Index 235 Introduction As college professors, we usually write about subjects that we hold at arm’s length: objective, intellectual, dispassionate. -
Em Boogie Nights De Paul Thomas Anderson* Historical Omission and Psychic Repression in Paul Thomas Anderson’S Boogie Nights
25 Omissão histórica e repressão psíquica em Boogie Nights de Paul Thomas Anderson* Historical omission and psychic repression in Paul Thomas Anderson’s Boogie Nights TANIA MODLESKI** University of Southern California, Departamento de Língua Inglesa. Los Angeles − CA, Estados Unidos da América RESUMO Primorosamente filmado em estilo altmaniano e baseado nas cenas dos filmes de Mar- * Artigo publicado originalmente em World tin Scorsese e Quentin Tarantino, Boogie Nights – Prazer sem limites continua até hoje Picture 8, verão de 2013. a ser proclamado um ultramoderno e ousado olhar sobre a chamada Idade de Ouro do ** É professora de inglês cenário da pornografia da década de 1970. Neste ensaio, procuro documentar o que “Florence R. Scott” na esse filme deixa de fora quanto ao registro histórico e mostrar como a supressão histó- University of Southern California e a autora de rica se relaciona com a repressão psíquica. Em vez de história, nos apresenta melodra- Loving with a vengeance: mass produced fantasies ma. Em vez de um documento histórico, Boogie Nights nos proporciona, novamente, for women (2. ed. Nova Édipo. Como a maioria das elegias, os aspectos negativos ou indesejáveis do sujeito são Iorque e Londres: Routledge, 2008) e The minimizados ou omitidos, embora eles voltem para assombrar o texto. women who knew too Palavras-chave: Boogie Nights, pornografia, omissão histórica, repressão psíquica much (Nova Iorque e Londres: Routledge, 2005), entre outros livros. Modleski também publicou diversos ensaios. ABSTRACT E-mail: modleski@ Exquisitely filmed in Altmanesque style and drawing on scenes from the films of Mar- dornsife.usc.edu Artigo traduzido por tin Scorsese and Quentin Tarantino, Boogie Nights continues to this day to be pro- Camila Paixão. -
Modleski.Pdf
Historical Omission and Psychic Repression in Paul Thomas Anderson’s Boogie Nights Tania Modleski For some time now, I have been interested in pursuing the phenomenon I call “male weepies.” “Weepies” has long been the term used to denigrate women’s films, particularly the melodramas that have been aimed largely at a female audience and that deal with women’s losses and grief/grievances. I have become weary of reading postfeminist denunciations of the “cult of sentimentality,” a phrase typically used to designate white middle-class women’s sphere. To take what is perhaps the most prominent example of a work that criticizes films and novels aimed at a large female audience, Lauren Berlant’s The Female Complaint condemns much female popular culture because it elevates suffering over the “will to socially transformative action.”1 Certainly, however, it is the case that “male” popular culture, while it may endorse action, hardly for the most part endorses political, or “socially transformative,” action. Even more to my point, however, is the fact that male popular culture also frequently indulges in sentimentalized suffering, even if it accompanies (nonpolitical) action. Thus I believe it is time to address films that make men weep, or perhaps more accurately, make us weep for them. The suffering of men in film is seldom acknowledged as “sentimental” (or if it is, the term is heavily qualified), but rather passes for something more grandiose. Juliana Schiesari’s brilliant book, The Gendering of Melancholia, which has had a major impact on my thinking, argues that male losses have historically been culturally valued and assigned to the glorified category of melancholia while the grief experienced by women over their losses is devalued and labeled as mere “depression.”2 The losses of white women and also, one must add, of people of color are moreover frequently appropriated by men to further aggrandize themselves as melancholy figures whose suffering on behalf of “Others” is culturally accredited. -
Criminalistics Research Behavioral Research in the Pornography Industry
Criminalistics Research 1 Behavioral Research in the Pornography Industry John F. Lemon, PhD 13 February 2020 Abstract The Adult Entertainment Industry is a multi-billion-dollar business. It includes adult films, cyber or internet pornography, adult magazines and other publications; strip clubs also known as gentlemen‘s clubs, and prostitution which includes escorts and call girls. This paper will focus mainly on the adult film sector of the industry. It will examine 730 actresses from 1970 to the present, 2019. Categories include birth year, location, family life, religion, marital status, children, education, pre-porn employment, the years involved in the film industry, age that they entered and retired from adult films, and post-porn employment. In cases where the actress is deceased, the year they died and the cause of death. The purpose is to seek patterns of behavior that explain why these actresses chose a career in adult films, why they stayed and why they left. Criminalistics Research 2 1. There are no co-authors; all of my work is done alone. 2. This is a research-based manuscript. I did this as a research paper for my criminalistics class at Kaplan University as part of my Criminal Justice Degree. I wrote this in 2010. With this revision I am updating my sources and statistics. 3. Kindly rephrase the highlighted sentences and cite them in the attached document. Done 4. We would kindly request you to give the corresponding reference numbers in the body of the article instead of the name and year format in ascending order. Working on this. -
Panorams, Motels, and Pirates the Origins of Adult Video
1 Panorams, Motels, and Pirates The Origins of Adult Video The whole videocassette business was basically founded by pirates and pornographers. David F. Friedman, quoted in David Chute, “Wages of Sin, II,” Film Comment (1986) The point of a porno film is to turn you on, and a theater isn’t the best place for that. The ideal context is the home. Al Goldstein, quoted in Tony Schwartz, “The TV Pornography Boom,” New York Times (1981) Historians often point to December 7, 1977, as the moment when the home video rental industry was born.1 That day, in the Los Angeles Times, local entrepreneur George Atkinson placed an advertisement that might have seemed innocuous but would eventually shake the entertainment land- scape. “video cassette rentals,” the copy read, in bold all-capital letters (figure 6). “Betamax ½“ or ¾“ formats. Full Length, Color-Sound Features. Low Rental Cost! Call or write for free catalog.”2 Atkinson’s action was groundbreaking in that he sensed a significant business opportunity to rent rather than sell videotapes to the home market; before that moment, no one else had made the leap.3 Atkinson thus invented the home video rental store, and, in less than two years, he grew that simple idea into forty-two affiliated locations, all with the straightforward and simple “Video Cassette Rentals” name on their doors. They rented the handful of then-available tapes for an exorbitant $10 per day (plus either a $50 annual or $100 life- time membership).4 In September 1979, he changed the name to Video Station and initiated a full-blown franchising strategy, eventually presiding over an empire of more than six hundred affiliated stores.5 When he died, on March 3, 2005, his lengthy obituary appeared nationwide, calling him a “pioneer in the movie video rental industry” and crediting him with creat- ing an industry that, by that point, reached well beyond his own affiliates, 40 THE ORIGINS OF ADULT VIDEO / 41 Figure 6.