Introduction: Prior constraints

Cinema Journal

Volumn 46, Issue 4, 2007, Pages 96-101

  Kleinhans, Chuck ^a  

^a NORTHWESTERN UNIVERSITY   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 60949971428     PISSN: 00097101     EISSN: None     Source Type: Journal    
DOI: 10.1353/cj.2007.0038     Document Type: Review

References (16)

1. "The Change from Film to Video Pornography: Implications for Analysis," Pornography: Film and Culture, Rutgers Depth of Field Series, ed. Peter Lehman (New Brunswick: Rutgers University Press, 2006), 154-67
2. David Bordwell and Kristin Thompson, Film Art: An Introduction, 8th ed. (New York: McGraw-Hill College, 2006)
3. Jeremy Butler, Television: Critical Methods and Applications, 3rd ed. (Mahwah, NJ: Lawrence Erlbaum Associates, 2006)
4. "Virtual Child Porn: The Law and the Semiotics of the Image," Journal of Visual Culture 3, no. 2 (April 2004): 35-52
5. Coppertone seems to have withdrawn the image for a while in the G. W. Bush era, but recently it has reappeared on the container
6. Diana E. H. Russell, Dangerous Relationships: Pornography, Misogyny, and Rape (Thousand Oaks, CA: Sage, 1998)
7. Diana E. H. Russell, ed., Making Violence Sexy: Feminist Views on Pornography (New York: Teachers College Press, 1993)
8. The book thus documents ephemera that is not otherwise available to later researchers. Russell's preface provides elaborate details about the barriers to publishing the images and her belief that actually seeing sample images is necessary to understanding the subject
9. Some of the subgenre are also available from Something Weird Video
10. Introductions to these subjects: Steven Jay Schneider and Tony Williams, eds., Horror International (Detroit: Wayne State University Press, 2005)
11. Jay McRoy, ed., Japanese Horror Cinema (Edinburgh: Edinburgh University Press, 2005)
12. Mikita Borttman, Offensive Films (Nashville: Vanderbilt University Press, 2005)
13. Joan Hawkins, Cutting Edge: Art-Horror and the Horrific Avant-garde (Minneapolis: University of Minnesota Press, 2000)
14. Which brings us back, of course, to Laura Mulvey's pre-"Visual Pleasure" article on Alan Jones's fetish image art: "You Don't Know What's Happening, Do You Mr. Jones?" Spare Rib no. 8 (February 1973: 13-16), which includes ample images
15. Reprinted without illustration in Mulvey, Visual and Other Pleasures (Bloomington: Indiana University Press, 1989). The essay is revealing because it demonstrates that when Mulvey discusses "fetishism" in the Visual Pleasure article, she has in mind not only Freud and Lacan, but basic B-D and S-M clothing, gestures, and styles
16. As I am writing this introduction, I am finishing for Jump Cut an article on Fruit Chan's Dumplings (Hong Kong, 2004), which deals with how exquisite form (cinematography by Chris Doyle, Wong Kar Wai's cameraman) relates to displaying disturbing and taboo images of fetuses, abortion, and cannibalism in the service of a dark satire that is an allegory of global capitalism