The clip: Footage of Fakir performing the sundance ritual in the film Dances Sacred and Profane.
Fakir is featured from 2:35 onwards.
In the picture above you see her kissing Marie Liljedahl in Eugenie… The Story of Her Journey Into Perversion, one of Jess Franco’s Marquis de Sade film adaptations, in this case Philosophy in the Bedroom. In that book, Madame Saint-Age, the part played by Rohm, is responsible for the terrible maltreatment of Madame de Mistival.
Here is the trailer to that film.
In the documentary clip below you see how Christopher Lee was tricked into “doing” nude scenes.
Maria Rohm is the blond one.
Here is Rohm’s page from the original Jahsonic site.
Research occasioned by the death of Adam Parfrey (see prev. post) brought to my attention that one of the writers who were often published by Parfrey, Mel Gordon, also recently died.
From left to right:
The book is a classic in the academic study of pornography.
I’ve never been able to find out the identity of the author of the illustration on the cover. It’s in the skinny style of Raphael Kirchner (1867– 1917) and Léo Fontan (1884 – 1965) which was popular in the late 19th and early 20th centuries. That’s all I know. Anyone?
The most blatant variety of this rhetoric is the part where they say that pornography leads to rape, first expressed by Robin Morgan in 1974 when she said “pornography is the theory, and rape is the practice“.
Recent feminists such as Anne W. Eaton have toned down their statements from the once virulent rhetoric of women such as Robin Morgan, but Rae Langton, a well respected source in the current debate, still references Ed Donnerstein in “Speech Acts and Unspeakable Acts“, her much-cited paper of 1993.
Researching Ed Donnerstein brought this film to my attention. He is interviewed on the effects of violent porn.
New to me was a soundbite uttered by Robin Morgan who states that “the first things that the Nazis did when they moved into Poland was to engineer a huge proliferation of pornography.”
The statement baffled me and I knew right away that I would not be able to find whether this was true or not, the only thing I could hope to discover is who first spread this piece of information.
After some googling I found this information cited in Take Back the Night (1980) by Laura Lederer. Some more googling and I discovered that it can be pinpointed to Pamela Hansford Johnson’s statement “when the Nazis took on the government of Poland, they flooded the Polish bookstalls with pornography” recorded in On Iniquity (1967), an attack on permissive society occasioned by the Moors murders.
I’ve previously mentioned why I like the rhetoric of censors so much but must write more about it, see in praise of censorship. This documentary is up here in its entirety but for how long considering the amount of explicit imagery?
PS 1. There is another explicit video on censorship, which has escaped the YouTube censor, I’ve written on it here and the video is still there.
PS 2. If you know where Pamela Hansford Johnson got her info from, I’d love to hear from you.
All my research on Rodin and eroticism can be found at Eros and Rodin.
Stéphane Audran was a French actress, known for her performances in award-winning movies such as The Discreet Charm of the Bourgeoisie (1972) and Babette’s Feast (1987) and in critically acclaimed films like The Big Red One (1980) and Violette Nozière (1978).
A well-known photo of the actress shows her sitting at a dressing table doing her toenails. It is from the film from the film La Femme Infidèle (1968).
Above is the clip of that film with Audran tending to her nails.
It drew — among many other things — my attention to the satirical vignette against Bertrand Chaupy (above), an engraving better known as the “turd engraving by Piranesi.”
Regarding the obfuscation in this book, Robert Harbison says in The Built, the Unbuilt, and the Unbuildable (1993):
“Recently the idea has infiltrated academic consciousness that the eighteenth-century crank Lequeu, one of the world’s fringiest paper architects, is really Marcel Duchamp inserting himself Trojan-horse-like into the musty tomes of the Bibliotheque Nationale, whiling away countless hours creating a large hollow space in which a few hundred pseudo-eighteenth-century beings can roost.”
See on elucidation and obfuscation the dictum by Cioran: between the demand to be clear, and the temptation to be obscure, impossible to decide which deserves more respect.
I spent the day in London yesterday. I arrived at St Pancras railway station, headed for the University of London in Russell Square where there was a day on political myth and Hans Blumenberg. I skipped class and went to the National Gallery and saw:
Lady Standing at a Virginal by Johannes Vermeer, detail
Witches at their Incantations by Salvator Rosa, full and cooking hag detail
Forgotten which this one is, I was quite impressed by it, I think it’s Dutch, detail
The Agony in the Garden by Andrea Mantegna, detail
The Fight between the Lapiths and the Centaurs by Piero di Cosimo, detail
The Death of Procris by Piero di Cosimo, detail
Meeting Place of the Hunt by Adolphe Joseph Thomas Monticelli, detail
Rain, Steam and Speed – The Great Western Railway by J. M. W. Turner, detail
Forgot, probably a Jupiter and Antiope, I loved the way the nipple was pinched, detail
Portrait of the Artist’s Wife, Cunera van der Cock by Frans van Mieris the Elder, very small and delicate painting, this one.
The Ugly Duchess by Quentin Matsys, cleavage detail
The Agony in the Garden by Bellini, detail of village in the distance
A Scene from El Hechizado por Fuerza (‘The Forcibly Bewitched’) by Francisco Goya, apparently a portrait of Charles II of Spain, detail
Still Life with a Nautilus Cup by Gerrit Willemsz. Heda, detail