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.
It took me more than an hour to find the original film the clip was taken from.
First I found a version with a little bit more footage at the beginning (below).
For a while I thought it came from a children’s movie and I scrubbed through two. These were actually quite nice.
Then, by machine translating the Russian Wikipedia page of Esambayev I found out that the clip comes from a film called Dances of the Peoples of the World (above) in which the Chechen dancer performs a huge number of various dances: “Chaban” (Chechen-Ingush, Uzbek), “Warrior” (Bashkir), “Golden God” (Indian), ritual “Dance of Fire” to the music of de Falla, “La Corrida” (Spanish ) and “Dance with knives” (Tajik)”.
I finally read the original page on which the problem of the tautological genre-trap is first elaborated [above].
The page is from Andrew Tudor’s 1974 Theories of Film, the chapter’s title is “Critical Method: Auteur and Genre”, the page 135.
The text reads:
“To take a genre such as a ‘Western’, analyse it, and list its principal characteristics, is to beg the question that we must first isolate the body of films which are ‘Westerns’. But they can only be isolated on the basis of the ‘principal characteristics’ which can only be discovered from the films themselves after they have been isolated. That is, we are caught in a circle that first requires that the films be isolated, for which purposes a criterion is necessary, but the criterion is, in turn, meant to emerge from the empirically established common characteristics of the films.”