Phallic Frenzy


Book Description

Ken Russell has made some of the most daring, disturbing, and beautifully photographed films of all time. Drawing from a wealth of historic and literary references, Russell's subjects are astounding: deranged Ursuline nuns in a 17th-century French province, the inner demons of Mary Shelley and Lord Byron, the sexual angst of Tchaikovsky, the emotionally drained life of Rudolph Valentino, the messianism of a pinball wizard, the fury of lesbian vampires, the introspections of prostitutes. Russell's movies offer not just brazen sensationalism but food for thought; they horrify yet inspire. And through it all, Russell maintains a simultaneously impish and intellectual sense of humor. The first full biography of the director, Phallic Frenzy is far from a dry, film-by-film analysis. It shows how Russell's real life has often been as engaging and vibrant as his film scenarios. Here you'll learn how Alan Bates and Oliver Reed compared their penis sizes for the nude wrestling scene in Women in Love; how Russell disfigured Paddy Chayevsky's script for Altered States by having the actors holler out the lines as fast as possible, accompanied by spewed food and streams of spittle; and how Russell was slated to direct Evita, starring Liza Minnelli, and the “creative differences” that ensued. A madcap tale full of wild ideas, surreal situations, and a cavalcade of colorful personalities, Phallic Frenzy is as thrilling a ride as any Ken Russell film.




Greasepaint Puritan


Book Description

Greasepaint Puritan details the life and work of Bradford Ropes, author of the bawdy 1932 novel 42nd Street, on which the classic film and its stage adaptation are based. Inspired by Ropes’s own experiences as a performer, 42nd Street “reads less like a novel than like a documentary about the lives of New York’s theatre people and, above all, about the practicalities, the personalities, and the sexual politics that go into the making of a show,” according to Richard Brody in The New Yorker. Why did Ropes’s body of work--which included a trilogy of backstage novels--and consequently his biographical footsteps, disappear into obscurity? Descended from Mayflower Pilgrims, Ropes rebelled against the “Proper Bostonian” life, in a career that touched upon the Jazz Age, American vaudeville, and theater censorship. Greasepaint Puritan follows Ropes’s successful career as both a performer and the author of the backstage novels 42nd Street, Stage Mother, and Go Into Your Dance. Populated by scheming stage mothers, precocious stage children, grandiose bit players, and tart-tongued chorines, these novels centered on the lives and relationships of gay men on Broadway during the Jazz Age and Prohibition era. Rigorously researched, Greasepaint Puritan chronicles Ropes’s career as a successful screenwriter in 1930s and ’40s Hollywood, where he continued to be a part of a dynamic gay subculture within the movie industry before returning to obscurity in the 1950s. His legacy lives on in the Hollywood and Broadway incarnations of 42nd Street—but Greasepaint Puritan restores the “forgotten melody” of the man who first envisioned its colorful characters.




British Trash Cinema


Book Description

BRITISH TRASH CINEMA is the first overview of the wilder shores of British exploitation and cult paracinema from the 1950s onwards. From obscure horror, science fiction and sexploitation, to art-house camp, Hammer's prehistoric fantasies and the worst British films ever made, author I.Q. Hunter draws on rare archival material and new primary research to take us through the weird and wonderful world of British trash cinema. Beginning by outlining the definitions of trash films and their place in British film history, Hunter explores topics including: Hammer's overlooked fantasy films, the emergence of the sexploitation film in the 1950s and 60s, the sex industry in the 1970s, Ken Russell's high camp Gothic and erotic adaptations since the 1980s, gross-out comedies, revenge films, and contemporary straight-to-DVD horror and erotica.




Ken Russell


Book Description

For more than 40 years, Ken Russell has directed some of the most provocative, controversial, and memorable films in British cinema, including Women in Love, The Music Lovers, Tommy, and Altered States. In this anthology, Kevin Flanagan has compiled essays that simultaneously place Russell's films within various academic contexts-gender studies, Victorian studies, and cultural criticism-on the one hand and expand the foundational history of Russell's career on the other. Ken Russell: Re-Viewing England's Last Mannerist recontextualizes the director's work in light of new approaches to film studies and corrects or amends previous scholarship. This collection tackles Russell's mainstream successes (Tommy, Altered States) and his seldom-seen masterpieces (The Debussy Film, Mahler), as well as his critical flops (Salome's Last Dance, Lady Chatterley's Lover). The book also includes information on Russell's most obscure television films, insights on his controversial films of the 1970s, and a new consideration of Russell's career in light of his recent return to amateur filmmaking. Representing a significant collaboration among scholars, Ken Russell: Re-Viewing England's Last Mannerist reflects a newly revived interest in the work of this important filmmaker.




Tin House Magazine: Sex, Again?: Vol. 18, No. 1 (Tin House Magazine)


Book Description

Sex, Again? Didn’t we just go there? Well, actually it has been twelve years since Tin House had sex, or an issue with sex, that is, a sex issue. I think you get what we’re after. Featuring fiction, nonfiction, and poetry from established writers and new voices, Issue 69 will try hard to keep it exciting and fresh, even after all these years.




Women, Sex, and Madness


Book Description

Covering a wide variety of subjects and points of inquiry on women's sexuality, from genital anxieties about pubic hair to constructions of the body in the therapy room, this book offers a ground-breaking examination of women, sex, and madness, drawing from psychology, gender and sexuality studies, and cultural studies. Breanne Fahs argues that women’s sexuality embodies a permanent state of tension between cultural impulses of destruction and selfishness contrasted with the fundamental possibilities of subversiveness and joy. Emphasizing cultural, social, and personal narratives about sexuality, Fahs asks readers to imagine sex, bodies, and madness as intertwined, and to see these narratives as fluid, contested, and changing. With topics as diverse as anarchist visions of sexual freedom, sexualized emotion work, lesbian haunted houses, and the insidious workings of capitalism, Fahs conceptualizes sexuality as a force of regressive moral panics and profound inequalities—deployed in both blatant and more subtle ways onto the body—while also finding hope and resistance in the possibilities of sexuality. By integrating clinical case studies, cultural studies, qualitative interviews, and original essays, Fahs offers a provocative new vision for sexuality that fuses together social anxieties and cultural madness through a critical feminist psychological approach. Fahs provides an original and accessible volume for students and academics in psychology, gender and sexuality studies, and cultural studies.




Romanticism and Film


Book Description

The relationship between Romanticism and film remains one of the most neglected topics in film theory and history, with analysis often focusing on the proto-cinematic significance of Richard Wagner's music-dramas. One new and interesting way of examining this relationship is by looking beyond Wagner, and developing a concept of audio-visual explanation rooted in Romantic philosophical aesthetics, and employing it in the analysis of film discourse and representation. Using this concept of audio-visual explanation, the cultural image of the Hungarian pianist and composer Franz Liszt, a contemporary of Wagner and another significant practitioner of Romantic audio-visual aesthetics, is examined in reference to specific case studies, including the rarely-explored films Song Without End (1960) and Lisztomania (1975). This multifaceted study of film discourse and representation employs Liszt as a guiding-thread, structuring a general exploration of the concept of Romanticism and its relationship with film more generally. This exploration is supported by new theories of representation based on schematic cognition, the philosophy of explanation, and the recently-developed film theory of Jacques Rancière. Individual chapters address the historical background of audio-visual explanation in Romantic philosophical aesthetics, Liszt's role in the historical discourses of film and film music, and various filmic representations of Liszt and his compositions. Throughout these investigations, Will Kitchen explores the various ways that films explain, or 'make sense' of things, through a 'Romantic' aesthetic combination of sound and vision.




Womanizing Nietzsche


Book Description

In Womanizing Nietzsche, Kelly Oliver uses an analysis of the position of woman in Nietzsche's texts to open onto the larger question of philosophy's relation to the feminine and the maternal. Offering readings from Nietzsche, Derrida, Irigaray, Kristeva, Freud and Lacan, Oliver builds an innovative foundation for an ontology of intersubjective relationships that suggests a new approach to ethics.




The Kingdom of Surfaces


Book Description

*FINALIST FOR THE 2023 MAYA ANGELOU BOOK AWARD * A virtuosic new poetry collection from Sally Wen Mao, “a consistently inspiring and exciting voice” (Morgan Parker) In The Kingdom of Surfaces, award-winning poet Sally Wen Mao examines art and history—especially the provenance of objects such as porcelain, silk, and pearls—to frame an important conversation on beauty, empire, commodification, and violence. In lyric poems and wide-ranging sequences, Mao interrogates gendered expressions such as the contemporary “leftover women,” which denotes unmarried women, and the historical “castle-toppler,” a term used to describe a concubine whose beauty ruins an emperor and his empire. These poems also explore the permeability of object and subject through the history of Chinese women in America, labor practices around the silk loom, and the ongoing violence against Asian people during the COVID-19 pandemic. At its heart, The Kingdom of Surfaces imagines the poet wandering into a Western fantasy, which covets, imitates, and appropriates Chinese aesthetics via Chinamania and the nineteenth-century Aesthetic movement, while perpetuating state violence upon actual lives. The title poem is a speculative recasting of “Through the Looking-Glass,” set in a surreal topsy-turvy version of the China-themed 2015 Metropolitan Museum of Art Gala. The Kingdom of Surfaces is a brilliantly conceived call for those who recognize the horrors of American exceptionalism to topple the empire that values capital over lives and power over liberation.




New Vampire Cinema


Book Description

New Vampire Cinema lifts the coffin lid on forty contemporary vampire films, from 1992 to the present day, charting the evolution of a genre that is, rather like its subject, at once exhausted and vibrant, inauthentic and 'original', insubstantial and self-sustaining. Ken Gelder's fascinating study begins by looking at Francis Ford Coppola's Bram Stoker's Dracula and Fran Rubel Kuzui's Buffy the Vampire Slayer – films that seemed for a moment to take vampire cinema in completely opposite directions. New Vampire Cinema then examines what happened afterwards, across a remarkable range of reiterations of the vampire that take it far beyond its original Transylvanian setting: the suburbs of Sweden (Let the Right One In), the forests of North America (the Twilight films), New York City (Nadja, The Addiction), Mexico (Cronos, From Dusk Till Dawn), Japan (Blood: The Last Vampire,




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