Women’s Cinema as Counterphobic Cinema: Doris Wishman as the Last Auteur

Kapitel in diesem Buch

1. Frontmatter i
2. Contents v
3. Acknowledgments vii
4. Introduction 1
5. part 1: Sleazy Histories
6. Pandering to the “Goon Trade”: Framing the Sexploitation Audience through Advertising 19
7. Women’s Cinema as Counterphobic Cinema: Doris Wishman as the Last Auteur 47
8. Representing (Repressed) Homosexuality in the Pre-Stonewall Hollywood Homo-Military Film 71
9. Pornography and Documentary: Narrating the Alibi 96
10. El signo de la muerte and the Birth of a Genre: Origins and Anatomy of the Aztec Horror Film 121
11. Art House or House of Exorcism? The Changing Distribution and Reception Contexts of Mario Bava’s Lisa and the Devil 144
12. part 2: Sleazy Afterlives
13. Troubling Synthesis: The Horrific Sights and Incompatible Sounds of Video Nasties 167
14. The Sleazy Pedigree of Todd Haynes 189
15. Para-Paracinema: The Friday the 13th Film Series as Other to Trash and Legitimate Film Cultures 219
16. Boredom, Spasmo, and the Italian System 240
17. Pure Quidditas or Geek Chic? Cultism as Discernment 259
18. Movies: A Century of Failure 273
19. Selected Bibliography 311
20. Contributors 321
21. Index 325