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Blue Movies in Australia: a Preliminary History

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Blue Movies in Australia: a Preliminary History Journal of the National Film and Sound Archive, Australia Volume 2, No.3, 2007 http://www.nfsa.gov.au/docs/NFSAJournalVol2_No3_web.pdf accessed 25/10/08 melodramatic fictions? Would the picture last chaos of technology, performance and BLUE MOVIES for two minutes or 10, or three hours? spectator response even begin to settle into standard patterns. Historians have been able !e third type of movement was that to identify in the early 1920s the emergence IN AUSTRALIA: stimulated by moving pictures in those who watched them. A famous anecdote from the of what is called the classic paradigm A PRELIMINARY early days tells of audiences becoming anxious, of moving pictures: a respectable adult fearful, even panicking and fleeing the theatre moviegoer sitting in rapt silence with family HISTORY as a train projected on to the screen appeared or friends in the dark of a comfortable and 1 well-regulated theatre, watching a tasteful Jill Julius Matthews to thunder towards them. More generally, early moving pictures provided shocks, thrills, and morally judicious narrative produced by In the 1890s, for the first time, shudders, as well as quiet contemplation, a major Hollywood studio, photographed pictures began to move. !eir edification, and aesthetic delight. !ey on 35mm cellulose nitrate film projected movement aroused excitement, awe moved audiences to tears, to thought, to at 16fps on to a screen. !ere was a minor – and fear – among scientists and laughter, to sexual arousal. paradigm available for children, involving a cultural elites as well as ordinary different time of day – morning or afternoon While the first two forms of movement, rather than evening – and a different story people. For their first decade, no one involving the technology and content of knew exactly what moving pictures content – with more action but without moving pictures, have attracted much moral ambiguity. With slight adjustments were capable of, what they could attention and research by scholars and fans, (including those for talking pictures), become. !ere was a wide diversity the third form has only just begun to have the dominance of these paradigms was of practices and responses. ‘Moving a scholarly presence. In this paper, I shall be maintained well into the 1960s. Dominant, focusing on that third form. I shall suggest pictures’ meant many things: science, but not all-encompassing. !roughout that an understanding of the audiences who magic, the end of civilisation. It all the 20th century, a diversity of alternative were moved by what is generally considered depended on which sort of movement practices co-existed. one emphasised. What preposition a marginal form of cinema has a significance mattered most: of, in, or by? that reaches well beyond the concerns of I want to sketch the outline history of one traditional film history and give us a unique of those alternative practices – adult cinema !e first type of movement was of the insight into the shifting contours of Australian – and to make the case for the importance of pictures themselves. Here, the emphasis society throughout the 20th century. its inclusion within film and cultural history, was on the way new technologies created From the beginning of cinema, audiences and in the collecting policies of the National visual illusions so that, to the eye, a sequence Film and Sound Archive (NFSA). It can only of static images appeared to be a single were as diverse as the modernising societies from which they were drawn, and their be a sketch at this stage, reliant on vignettes seamlessly moving picture. Inventors around and extrapolation, because the dominance the world engaged in feverish competition mode of spectatorship ranged from private to public, individual to companionably or of the classic paradigm has until recently to create the machines and film medium dissuaded scholars from broader research that would become the standard technology exuberantly collective. In the face of such and obliterated much of the evidence. of the future. Would the film width be 8, heterogeneity, defining and regulating 28, 35, 63 or 70mm? Would the pictures the appropriate cinematic experience I use the word ‘cinema’ to indicate a field be photographed at 12.5, 16, 18, 24, or was the subject of intense debate among considerably wider than just ‘film’. Cinema 46 frames per second (fps)? Would they moralists, cultural elites, regulatory officials certainly includes film as a material artefact, be displayed in a peepshow machine for and spectators themselves – all seeking and as an aesthetic and narrative form, individual viewers, or projected on to a to control the cinematic experience for but includes as well the set of economic, screen for a crowd of spectators? their own preferred futures. Who was the organisational, social and cultural relations acceptable movie spectator: child or adult; between and associated with producer/ A second type of movement was in the male or female; black or white; working or pictures. Here, the emphasis was on content. creator, distributor, exhibitor, viewer and middle class; individual, couple, family or 2 Scientists, showmen and artists competed regulator. More specifically, by ‘adult community? What was the acceptable range cinema’ I mean a general and historically to produce the type of moving pictures of such spectators’ intellectual and emotional that would command the imagination of shifting phenomenon, encompassing the responses and behaviours? audiences. Would their pictures capture set of relations involved in the exhibition and re-present the movement of real world Not until the second decade of the 20th of moving images to adult audiences, events, an aesthetic ideal, magical tricks, or century did this creative and competitive specifically excluding children. !e types of 1 NFSA JOURNAL Volume 2, No 3, 2007 BLUE MOVIES IN AUSTRALIA: A PRELIMINARY HISTORY films, the types of venues in which they were were enjoying penny-in-the-slot peepshow which have been identified in the programs exhibited, and the types of people involved machines: of early Australian picture theatres as well as were multiple and varied. For my purposes, Watching the public at the Mutoscope displays. !e erotic pictures seem ‘adult film’ covers all films deemed not generally to have been of the tease variety, Mutoscopes came to the conclusion suitable for children on grounds of sex.3 with titles promising more explicit sexuality that the machines labelled “High More colloquially, these are called ‘blue than was ever delivered. As Wongim Kicking”, “Peeping Tom”, “Maiden’s movies’. Pornographic films are a sub-set reported: of adult or blue, not its full definition. Midnight Romp”, etc, would soon In “Sylvia Undressing”, “Peeping Eric Schaefer’s definition usefully break down through overwork, Tom”, “Who owned the Corset”, summarises the range: whilst those entitled “Riding with Kitchener,” “Coronation Scenes”, etc, etc, the spectator who has invested “adult film” [encompasses] a wide will probably die of starvation. As I a penny is just thinking he is going range of moving images designed to possessed a penny at the time, had a to see something shocking when the be shown to adult audiences. Such look at one of the first-mentioned, and light goes, and the penny, which had material is shot and distributed was shocked. When I have another been acting as a joint in the circuit, commercially on film (35mm, 16mm, penny am going to get shocked again.5 falls down into the cash box with a 8mm) and video and can be hard- sound like a fat chuckle.11 core (featuring non-simulated sex !e first Australian audiences to experience acts) and soft-core (featuring nudity the magic of the moving pictures saw them !e erotic peepshow films were made by the and provocative situations up to and same, reputable, film companies that made in direct film viewers, or peepshows.6 Edison including the simulated presentation the other films. Georges Méliès made at Kinetoscope machines were introduced of sex acts). !e term “adult film” least two versions of Peeping Tom before the in 1894, and toured the country over the encompasses early exploitation movies turn of the century. Charles Musser, in his next few years. Despite the introduction of (nudist films, sex-hygiene pictures, discussion of Edison’s Kinetoscope pictures, projected pictures in 1896, the peepshows and so on) designed to be shown for indicates that the company produced a sustained their popularity, even enhancing “adults only”, as well as soft-core substantial number of films of coochee- sexploitation, foreign films with some it with the introduction of Mutoscope 12 7 coochee dancers, and High Kicking could be sexual content that played in art machines from 1903. !e peepshow’s an 1894 Edison film of the pioneer modern houses and grindhouses, as well as competitive edge came from the superior dancer Ruth St Denis who was known in 4 hard core stags, shorts, and features. quality of image and absence of flicker, which her vaudeville days as “the Champion High plagued cinematic projection. A further, Kicker of the World”.13 Musser also suggests Such films were made from the beginning of ambiguous, advantage was that, while it was that there was “a body of Edison films [that] cinema in 1895 until the early 1980s, when a public entertainment, it could be viewed by were circulated more or less clandestinely”.14 household video machines became available only one person at a time. !is meant that and dramatically changed the quantity and there was a sense of false privacy about the !e salacious content of the peepshow has content of sexual representations and the viewing experience – a bit like our experience passed into folklore, indelibly associated with place and experience of their viewing, as well of the mobile phone. striptease, burlesque scenes and suggestive as the economic and regulatory relations nudity.
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