Improving Your Sex Life

Revive Her Drive

Be ready to go through a complete transformation in the way that you think and feel about having sex with your wife or girlfriend! Revive Her Drive is like a Cheat Sheet to woo your woman the way she secretly wants you to, and simply cant express. The solution is based on female-friendly, easy-to-learn strategies that she will love! How nice will that moment be when shes lying in your arms, happy and spent, and she actually Thanks You for helping her to rediscover her sensual self? Shell be grateful that you, Her Man, now that you have the vision and skill to guide her into new, electrifying experiences even if she fights you or resists you now. Women Are sensual creatures. We women want pleasure, intimacy, connection, sensation as much as you do! Ill prove this to you. Once you know how to captivate her, you can turn her into a pleasure-seeking device within 24 hours. Getting that kind of responsiveness is the feedback you need to feel confident this program is working. Discover how Robert rekindled his relationship with Lauren using the tools within Revive Her Drive by watching this short presentation that lays out the whole strategy youll use to transform your intimate life into one of passion, surrender and fantasies-come-true. Continue reading...

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Conclusion La Marge And The Performance Of The Orgasm

In hard-core porn there is an essential difference between male and female stars the visibility of the orgasm. This entails visual proof of orgasm for the male star, whereas the female star, even if engaging in actual sex acts, still has, in a sense, to perform her orgasm, to enact the unseen. In soft porn this distinction no longer holds. The sex is not real but performed, and so are the orgasms. La Marge is relatively unusual for a soft-porn film in that it teams a major female porn star with a male star of some calibre (although by no means equal), whose star image is explicitly sexual. So how are the star images of Kristel and Dallesandro represented in tandem and what does this tell us about gender and the performance of the orgasm La Marge was made in 1976 by Walerian Borowczyk, two years after his vast commercial success with the soft-core fantasy Cantes immoraux. The characterisation is simple and traditional, following a pattern familiar from melodrama and myth loving husband...

Sexuality Outside Mainstream Filmmaking

''Stag'' films were even more explicit in showing sexual intercourse. These early versions of film pornography consciously broke obscenity laws and hence were often distributed and shown surreptitiously. Working just barely within the boundaries of obscenity laws was a mode of production known as exploitation filmmaking. Made by filmmakers outside the major studios,

Still Mean in Las Vegas

Becomes progressively more unstable, clearly becoming dependent on alcohol, pills, and cocaine. She can't be trusted with their daughter Amy (Darla House). When Lester reappears, her old dependency on him reasserts itself, and he persuades her to raid the joint bank accounts Ace has set up. Public drunkenness and abuse of their daughter has poisoned their marriage, and the final betrayal with Lester is too much. Ace throws her out. She goes to Nicky for protection and enters into a sexual relationship with him to assure his loyalty. Nicky, married with children in a Catholic elementary school, falls into her trap and sees Ace as a rival. Ace's complaints about Nicky's tactics to the bosses in Kansas City merely put the final seal on the death certificate that Nicky had written for himself some time earlier.

Postwar Sexuality On Film

World War II helped shift attitudes toward and portrayals of sexuality in the United States and western Europe. Cheesecake photography of women helped remind GIs of what they were fighting for.'' Members of the armed forces were given explicit education (including films) about sexually transmitted diseases. Roles for women in the workforce expanded to include what had been traditionally considered masculine jobs. Wartime demands for personnel even led military and civilian leaders to tacitly overlook the existence of homosexuality in the ranks or in the workforce. With the end of the war, though, there was a concerted effort to bring society back to pre-war notions of sexuality. Social pressures were placed on women to return to the role of homemaker, for example, and homosexuality was once again deemed a mental illness and a criminal act. Yet the 1950s saw increasing challenges to these attempts. While a baby boom'' erupted in the United States after the war, divorce rates also grew...

Post War Film and Television

A new powerful and sexually charged feminine identity was constructed in a new wave of British cinema that began to make an impact from the early 1960s with films such as A Taste of Honey (1961). As Christine Geraghty has argued, changing social mores, particularly exemplified by the Profumo affair and the subsequent Denning Report of 1963, acknowledged the sexual power of young women, in this case to cause the demise of a cabinet minister (1997). British films such as Darling (1964) and Here We Go Round The Mulberry Bush (1967) centred around the lives of young, sexually attractive women as consumers in the heady context of Swinging London. This image was reinforced by the popularity of The Beatles on both sides of the Atlantic. Their first film, A Hard Day's Night, was released in 1964. Its black-and-white This image of London as the centre of young glamour, underpinned by a new sense of powerful, female sexuality, was to also permeate popular television series, particularly 'The...

Rainer Werner Fassbinder b Bad Worishofen Bavaria Germany May d June

The politics of sexuality become more elaborate in Fassbinder's final film Querelle (1982), where the act of male penetration becomes a staging of power and submission played out according to various contractual terms the penetrated male reserving the ability to give or withhold pleasure the penetrator fantasizing that his male sexual partner is actually the partner's sister. The film that enables the most elaborate network of queer positions of identification and desire is In einem Jahr mit 13 Monden (In a Year of 13 Moons, 1978), which begins as desire has already receded into the past. Its protagonist is the transgendered Erwin Elvira, who has undergone sexual reassignment surgery after her male lover Anton makes a casual observation about how their relationship would be if Erwin were a woman. When Anton reduces Elvira to the status of a freakish object and discards her, however, the film becomes an emotionally and politically charged investigation of the instability of human...

Pressure Groups And The Media

Chains have been targeted by organized campaigners who write letters of complaint or form demonstrations outside specific venues. The many pressure groups who have targeted films have included the religious organization the Festival of Light, which in the United Kingdom argued that The Devils (1971) and The Last Temptation of Christ (1988) were blasphemous and family protection groups such as mediawatch-uk (formerly the National Viewers' and Listeners' Association, founded in 1965, and led by Mary Whitehouse), which has campaigned against violent films such as Baise-moi (2000). In the United States, the gay rights group Queer Nation (formed in 1990) attacked Basic Instinct (1992) as homophobic feminist groups such as Women Against Violence Against Women assailed Dressed to Kill (1980) as misogynistic and ethnic protest groups have variously picketed against the racial representations of Native Americans in A Man Called Horse (1970), Italian Americans in The Godfather (1972), Puerto...

Sentinel Production

Damaged Goods was made into a film in 1914 and the next four years saw a huge rise in simila movies about the same subject. Meanwhile, public awareness of the scourge of venereal disease was also increasing. Towards the end of the First World War, a series of documentary filnr dealing with syphilis, originally made for the US Army, were released to the general public. These created a massive backlash and caused a sea change in the opinion of critics and censors. The problem was not so much that the films were overtly graphic, but that they stressed that everyone, irrespective of nationality, class or creed, was at risk of contracting the disease. The implication that the ruling classes were as likely as the lower orders to put themselves at risk by engaging in illicit sexual activity was considered outrageous and the censors reacted by indiscriminately banning all films related to venereal disease. Before long, a small group of men saw the business potential of screening sucl movies...

Conclusion Devil and the Politics of Friendship

Throughout his odyssey, Easy is thrust into situations in which he must test the value of friendship and distinguish between true and false friends (including himself). This aspect of Easy's process of detection is more relevant to the film's disclosure of black micropolitics than his solving of the murders. Initially wary of Albright's kind of friendship, Easy's qualms are justified when Albright and his henchmen invade his home and threaten and brutalize him. After tracing this episode to Joppy Easy confronts him, and during their shouting match Joppy protests, Look at me, Easy. I'm your friend, which locates Joppy alongside Albright as another false friend. But Easy himself proves false with respect to his friendship with Dupree, giving in to the temptation to have sex with Dupree's woman, Coretta, at their house while Dupree is asleep in the next room. Later in the film, when Easy and Mouse visit Dupree in search of information, in a letter tucked into Coretta's Bible, which is...

Heterosexual Hardcore Conventions

While the stag film and various striptease loops of the primitive era and beyond had already introduced the ''meat shot,'' or extreme close-up of female genitals, it was not until Deep Throat that the ubiquitous ''money shot'' became a staple of hard-core film. Speaking to the documentary truth of the sex act, the visible ejaculation of the male performer allows the truth of male sexual pleasure to become visible. Notably, Behind the Green Door contains an extensive, slow motion ejaculation scene, enhanced by psychedelic colors and special effects. The necessity for these penis close-ups is facilitated by numerous scenes of heterosexually-oriented fellatio and scenes of penetrating intercourse where the penis is withdrawn prior to orgasm and then ejaculates onto the female partner on her breasts, her buttocks, or her face (known as a facial). Since female porn performers do not have the same visible evidence of orgasm as men, hard-core films make up for this lack by enhanced,...

From Safe by Taylor

I'm a New Yorker. I'm from California. This is my home. Home is where the heart is. My heart is here. Except in the winter. I hate it in New York in the winter. And the summer. It smells like cat piss in the summer. The spring, then There is no spring here. Fall Then the holidays are coming. I should move back to California. But the North Koreans. The North Koreans can reach California. I should go someplace safe. Someplace central. Someplace landlocked. Someplace where they like drag queens and gay rights and tranny rights. I'm a tranny. I'm a fag. I'm a boy. I'm a man. I'm an artist. I clean toilets. I love you. No I don't. I want to have sex with you. No you want to have sex with me. I want to make a life with you. You 're too old, I'm too young, I'm

International Fame on the Road beyond Neorealism La strada Il bidone and Le notti di Cabiria

The presentation of Il bidone at the 1955 Venice Film Festival was a disaster and would prevent Fellini from presenting one of his films at Venice until the opening of Satyricon in 1969. Nevertheless, the subsequent Le notti di Cabiria (1957), assisted by another brilliant performance by Giulietta Masina as Cabiria Ceccarelli (awarded Best Actress at the Cannes Film Festival for her efforts), enjoyed international acclaim and earned Fellini's second Oscar for Best Foreign Film. Fellini initially had difficulty obtaining backing for this film, which he had in mind even before Il bidone, because he wanted to shoot a picture on prostitution at precisely the moment when the question of legalized prostitution had become a burning social issue in Italy. Ultimately legalized prostitution was banned in 1958 by the Merlin Law, finally closing the state-inspected brothels that had played such a large role in the sexual education of every Italian male of Fellini's generation. Although Fellini...

Gregory Woods and Tim Franks

In the days when 'musical' was a code word for male homosexuality - 'Is he musical ', 'Mmm, very ' - a man's relationship with music could be as revealing and compromising as the biomechanics of his sexual acts. Not only to have certain tastes, but to have 'taste' at all, could be construed as a suspiciously unmanly condition. Moreover, almost from the moment when the postStonewall gay identity was invented in the late 1960s it has been partially defined - even if ironically - in terms of a relationship with musical cinema. The drag queens, hustlers and other gay riff-raff who rioted outside the Stonewall Inn on Christopher Street, New York, on successive nights in June 1969, thereby giving spectacular birth to the gay liberation era, were not merely protesting against the routine brutality and corruption of both the police and a Mafia-controlled ghetto of gay bars they were also, if only symbolically, mourning Judy Garland, who had been buried on the morning before the first riot....

His And Hers Desiring Bodies In Betty Blue

In the opening scene of the film, the camera slowly tracks forwards towards Betty (Dalle) and Zorg (Anglade), both naked, having sex. The first sounds are Betty's high-pitched groans of pleasure. Her face is clearly lit as she grimaces, and then bites Zorg's shoulder at the moment of orgasm. (Both the groaning and the biting will be revisited with hyperbolic intent in Dalle's performance from Trouble Every Day) Despite the slight privileging of Dalle over Anglade in this sequence - she makes the most noise her face is

Ethnicity And French Cinema

This chapter will explore issues of race and stardom, whiteness and female sexuality, via an American actress who worked and died in France, and a French actress of German and Algerian parentage. Their star images illuminate the representation of ethnicity in French cinema. Of course, it is true to assert, as Ginette Vincendeau does, that 'French cinema has been slow to acknowledge the ethnic diversity of the population'.1 But this is not to say that ethnicity is not at stake in the images of French film stars. Whiteness is, of course, a form of ethnicity, albeit an unmarked, culturally normalised one and, as Richard Dyer has observed, the 'white woman' is idealised in western culture as the 'light of the world', the guarantor of whiteness, 'the most highly prized possession of the white man and the envy of all other races.'2 This idealisation of whiteness resonates in the images of numerous female stars in Western society, from Marilyn Monroe and Brigitte Bardot to Princess Diana....

An Enlightened View of Immigration

However, one can also argue that rather then being petty and small-minded, the villagers show a remarkable community spirit, closing ranks, for instance, or turning a blind eye, when it is a matter of realizing individual advantages (sex, money), which are tolerated, but only insofar as they do not endanger community cohesion. Thus, Ben brings Grace back into the village after taking her money and having sex with her hence Tom is lying to Grace about how he got the money and to his father about who took the money. Both act pragmatically within the terms of a certain social contract, extending the villager's self-protective shield of disavowal, and thus keeping the public secret, as it were. However, this enlightened self-interest is in the end found wanting. The spectator tends to side with Grace - which is to say, with her father and his brutal gangster methods - when they assert that certain ways of behaving are just not good enough, irrespective of the real-politik and its...

The regime of the brothers

As a drive creature, opposed to Marty, a desire creature driven by anxiety and lack, Biff is a permanent threat to the symbolic order. But Marty and Biff are also alter egos, or as Zizek might phrase it - Biff is Marty 'giving in to his desire'. We already noted how Marty berates his father in exactly the way that Biff does, in the matter of the smashed-up car. But we can now assign another meaning to the 'blind spot' it represents the Big Other's demands on George, which can never be met, and which both Biff and Marty appropriate, giving them full power over George's guilty conscience. Likewise, in respect to Marty's repressed and censored incest feelings, it is Biff who stands in for him, or rather they both occupy the blind spot of Lorraine's disavowal of her sexuality. In the scene of the 'petting' in the car, for instance, where Biff takes the place of Marty as Lorraine's sexual partner, before he is socked by George, there's a showdown that was actually planned for Marty. If we...

Violent Beauties Wing Chun and Naked Killer

In this section I focus on two films that could not be more dissimilar Wing Chun and Naked Killer (1992). Both films feature women who move in a world of female potency and male impotency, but the resemblances end there. Where Wing Chun presents a positive image of a heroine attempting to understand, negotiate, and finally mitigate the threat that her martial artistry poses to the male community (without giving up or renouncing her power), Naked Killer depicts female eroticism and violence as a menace to men that can only be resolved through the annihilation of the women. My discussion of these two films reveals the very different ways in which the genre can link femininity, female sexuality, and women's violence. Furthermore, the film represents Kitty as a desirable heterosexual woman whose erotic power is uniquely benign only she can restore Tinam's potency. Yet when Kitty acts on her love for Tinam, Cindy tells her she must give up being a professional assassin, because her...

Violent Women in the Hong Kong Kung Fu Film

Question the compatibility of femininity and violence. Some do this by sending mixed messages about the attractiveness of the fighting woman, framing her as a plain but earnest sidekick in contrast to the male hero's beautiful but helpless love interest. This reduces the threat posed by the violent woman by displacing her erotic power onto a more traditionally feminine figure. Other films, in contrast, explicitly turn the fighting woman into a sex object and use martial artistry to exploit the female body. While in some cases this results in a positive integration of female sexuality and power, in others the violent woman conforms obediently to the misogynist image of the Dragon Lady or femme fatale. The fantasy-action subgenre subverts gender norms by positing a mythical world in which gender is fluid and women can accrue supernatural powers. These films often use the instability of gender allegorically to express a political uncertainty and anxiety surrounding Hong Kong's status in...

Laura Mulvey b Oxford England August

In a subsequent essay published in 1981, Afterthoughts on 'Visual Pleasure and Narrative Cinema' inspired by King Vidor's Duel in the Sun, Mulvey addressed persistent questions about her lack of attention to the material female spectator in her ''Visual Pleasure'' essay. She noted that she was less interested in the female spectator who resists the masculinization that Hollywood cinema demands than the one who secretly enjoys the freedom of action and agency that identifying with the male protagonist offers. Using Freudian theories about female sexuality as well as Vladimir Propp's analysis of narrative structure in folk tales, Mulvey examined the

The Case Of The Thin Red Line

The film focuses on three privates in the company, Private Witt, whom we meet at the opening of the narrative and who dies at its close. Witt is concerned about his place in the world. He feels he belongs in the outfit and has a responsibility to his fellow soldiers, as well as to his family at home and to the natives he meets on the Islands. This is a man looking to define his place in the universe. Another soldier, Corporal Fife, has a narrower field of focus he looks beyond himself only to look at death in the universe. He is fearful and obsessed by the meaning of death. Yet another, Private Jack Bell, thinks only about home, specifically about his wife. He yearns for her, reveling in memories of his recent marriage, bathed in the recollection of the aliveness of her sexuality. Unfortunately, his feelings are not shared by his wife. Late in the narrative he receives a letter from her she writes that she is leaving him for another man, an available States-side man.

The Migrations of Glamour

The suggestive power of the partially concealed body manifests the play of anticipation and suspense that structures masochistic temporality. Masochism obsessively recreates the suspended movement between concealment and revelation, disappearance and appearance, seduction and rejection, in emulation of the ambivalent response to the mother who the child fears may either abandon or overwhelm him. The control of desire through theatrical ritualization of fantasy in masochistic masquerade delays the genital consummation of desire, a sexual act that would restore the symbolic merger of mother and child (1990 237).

The Meese Commission And The Sex Warsdiscourses On Pornography

Violence, had no measurable ill effects. Beginning in 1986, during President Reagan's last two years of office and into the first Bush administration, the Commission on Pornography, headed by Attorney General Edwin Meese, made significant strides in prosecuting and demonizing pornography. Ostensibly, new laws and an Obscenity Task Force were aimed at child pornography, but the elaborate new record-keeping requirements (combined with extensive legal fees) were intended to drive producers of sexually explicit materials out of business. Established in 1987, the National Obscenity Enforcement Unit attempted to eliminate as much sexually oriented material as possible. Frequently the unit would force plea bargains and settlements on defendants who wished to avoid prosecution in one instance, plea negotiations with the Adam & Eve Company demanded that the company stop selling even mild soft-core porn, including marriage manuals like The Joy of Sex (1972). A federal circuit court ultimately...

Stages In The History Of Stardom

Overlaying this came an abiding fascination with personalities' off-screen lives. Fan magazines proliferated, gossip columns celebrated and damned with equal delight. This happened even as the growing companies were trying to secure respectability for their business, and therefore necessitated producing films whose themes and narratives marked them as serious, and opening cinemas in more middle-class districts. It also meant trying to control public discussions of cinema, as Paul McDonald captures 'By representing the moral rectitude of performers' lives, star discourse promoted the image of the whole cinema business' (2000 32). But the intensity and volume of fan interest continually undermined this effort. Gaylyn Studlar (1990 see also her larger 1996 study) captures this in her essay on women and the fan magazines of the 1920s, where she points up the fears about unbridled female sexuality which they both provoked and purveyed.

FOCUS Editing and Film Form Realism

Presented of the boxer, including pre-fight sexual abstinence (literally aborting foreplay with his second wife Vickie by pouring iced water down his shorts), the constant battle with maintaining weight and avoiding alcohol. Jake is barely capable of expressing himself at all, other than expelling rage through violence, in his own apartment as well as in the ring. It is his pathological jealousy and mistrust of Vickie that leads him to batter opponent Janiro to a pulp, after Vickie had angered him by referring to his up-and-coming rival as 'young, good-looking'. The power of Jake's fury drives images like one nauseating tilt-shot that follows Janiro right down to the canvas, until his world is upended, ropes stretched vertically up the screen. The static approach to scenes away from the ring contrasts with the kinetics of the fights, which tend to stay with Jake in the ring, but each fight is also shot and edited differently - emotionally or psychologically unique within the...

The Second Awakening of Christa Klages

When Werner is killed by the police, Hans helps Christa leave the country using Ingrid's passport. Ingrid joins her in Portugal. The townspeople who are conservative interpret their close relationship as a lesbian relationship and consequently turn against them. Returning to Germany, Christa is picked up by the police, and Lena is brought in to identify her as the female bank robber. She denies Christa was the robber and the film ends. Christa is free. The excerpts we will focus on are the scenes of Christa with Lena in the bank and, at the end, Christa with Ingrid and Christa with her daughter. What characterizes all of these scenes is the closeness of the females, one with the other. It is a man's world, and, whether it is Werner or Ingrid's husband, men are more selfish and in the end they support one another rather than their female lover or partner. It is the women who help one another. That was the motivation for Christa to rob a bank. Daycare is an issue for women. Men care...

Directing the Camera

A second visual component is that Breillat saves close-ups for vital parts rather than vital dramatic moments otherwise, her visual style does not emotionalize scenes. On the contrary, her intent seems to be to objectify her characters and objectify the sexual act. Longs shots tend to objectify rather than emotionalize. When Marie gets undressed in front of her boyfriend, we can see her disrobing in the same shot that registers her boyfriend's indifference. the narrative. Exerting power, whether the sexual power of an adolescent over her sibling or the male-female power struggle, always leads to the same place the violent resolutions of conflict that affirm that women are the victims of men rather than their partners. Fat Girl takes us as far from romantic love as we can travel. We are left with the director's idea to ponder our own idealizations and demonizations of sexuality. This is where Breillat's films take us.

Directing the Actor

All the ones she had with Goran were fake. Of course, her admission could be viewed as her character opening up, which might be true on the surface. In the performance, however, we also need to see her self-serving promiscuous urges. This is a girl who just wants to have fun. Think of it as the declaration and the revelation. Moodysson seeks both in the performance.

Do you see parts of your style in the first films you made in college

The way I make films is so much about getting intimate with people, bonding with them, and having a good ole conversation. That is a big part. There's the verite, where I just follow the scene, but a lot of the other stuff is me in conversation with people. People who I feel intimate with, people who trust, people who I trust, people who I like, people who

Manchild Persona Of Robin Williams

In his study Stars, Richard Dyer relates a popular film star's image to the struggle between dominant and competing or subordinate ideologies. Stars can be understood as negotiating these conflicts, either through displacement, the suppression of one discourse in favour of another, or by working a ' magic reconciliation of the apparently incompatible terms'. Thus Lana Turner's synthesis of sexiness and ordinariness, or Marilyn Monroe's combination of knowing sexuality and sexual innocence, both serve to reconcile the conflicting desire within American culture for women to be at once sexy, pure and ordinary (Dyer, 1998 26) Dyer observes parallels between Monroe's film persona and discourses surrounding female sexuality during the era of her popularity (1998 31). This suggests that the attraction of film stars stems from their ability to unify competing discourses, an act of ideological reconciliation cemented by the star's existence outside the film text. I shall argue that Robin...

Catherine Breillat b Bressuire France July

Her first film as writer and director, Une vraie jeune ftlle (A Real Young Girl, 1976), focuses on the sexual experiences and desires of a young woman, but eschews the romanticism often associated with such tales. Instead, the main character shows no particular reaction to the plainly incestuous attention of her father. In contrast, a blue-collar worker's indifference toward her creates an insatiable passion for him. 36fillette (Virgin, 1988) and A ma soeur (Fat Girl, 2003) are also offbeat narratives of young women coming of age. In each of these films, the female protagonists are not viewed as passive victims in a male-dominated society, but as active agents of desire grappling with their feelings, as well as the assumptions and roles that are thrust upon them by society. This is also true of many of the adult women in Breillat's other pictures, such as Romance (1999) and Anatomie de l'enfer (Anatomy of Hell, 2004). It is perhaps this combination of dispassionate technique and...

Stereotyping Fans And Fandom

Fans and fandom have been subjected to moral surveillance, and a powerfully moralizing gaze, throughout film history. In common-sense terms, the fan audience (whether socially organized into fandom or not) has typically been represented as a bit weird, excessively emotional in relation to favored stars, too interested in the trivia of films' production and the miniscule details of close reading, or too obsessed with the world of film to live successfully in the real world. Film fans sometimes have to defend themselves against accusations that they are losers or maladjusted geeks. Even the notion that film is an art with its own visionary auteurs has not been enough to dispel the image of the pathological movie fan, and neither has the term cinephilia, with its high-cultural overtones. For example, the US documentary Cinemania (2002) portrays a group of self-professed cinephiles as variously dysfunctional unable to hold down jobs or have sex lives, instead they obsessively devote their...

The Australian New Wave The Comedies

Sex comedies, such as Burstall's Alvin Purple (1973), emerged in the early 1970s as an alternative to the ocker comedies. These films were much less confrontational in their criticisms of Australian attitudes. Alvin Purple, for example, was based on the simple premise of a naive young man (Graeme Blundell) who cannot understand why every woman he meets wants to have sex with him. It became Australia's most successful film in the 1970s and was followed by a sequel, Alvin Rides Again (1974), and a television series.

Censorship in the United Kingdom

In 1982 these categories were again changed when the BBFC modified its classifications to correspond with the American system 'A' became 'PG', 'AA' became '15', 'X' became '18', and a new category of 'R18' for material of a sexually explicit nature was introduced. The category of '12' was added in 1989 to bridge the gap between 'PG' and '15' and the category of 'Uc' (particularly suitable for children) exists solely for video. Reflecting concerns over the rise of so-called 'video nasties', in 1984 the Video Recordings Act was passed and a year later the BBFC was empowered to classify all videos for sale and rental. The Board changed its named to the British Board of Film Classification to reflect its new role. In 1994 the Criminal Justice and Public Order Amendment to the Video Recordings Act of 1994 required the BBFC to consider if a video can cause 'harm to potential viewers' or 'harm to society through the viewers' behaviour' in its treatment of 'criminal behaviour', 'illegal...

Image Not Available

Some 300 films were being produced each year by an intensely competitive industry (with its principal bases in Bombay and Madras), conforming largely to the same genres, with the addition of the 'historical' genre inaugurated by Chandralekha (Vasan, 1948). This genre complemented the 1950s moves to censor representations of sexual activity, particularly wanton kissing and 'indecorous' dancing - though dancing and singing, of course, remained essential ingredients of almost all Indian films, aimed as they were at a rural audience which was at the time still largely illiterate.

How queer is it

If the economic and institutional barriers facing emerging queer filmmakers in Germany are not suprising, we should also acknowledge the critical and theoretical ones they faced. Most conspicuous was the Mitscherlichs' thesis of a national inability to mourn. How sensitive could this model of a mass unconscious be to groups who suffered and mourned for different reasons and in different ways 9 How contrite should a gay man be for a country that outlawed his sexual activity decades after the end of the war 10 How is he supposed to identify with this ur-project What strategies could gay- and lesbian-oriented cinema catalyze The obstreperous aspects of melancholia (which also inform kitsch and camp) repudiate that account and demonstrate that the prevalent structures of grief and remembrance after the war were not appropriate to all forms of subjectivity. Not every filmmaker subscribed to the New German Cinema's Oedipal rejection of Papaskino, or to the heterosexual presumptions of its...

Jay Leno

In 1974, the year before Letterman launched his own Los Angeles comedy career, Leno moved to Hollywood's entertainment capital. He faced a number of rebuffs. A William Morris agent told him he would never go anywhere, and an NBC casting director told him he should dye his hair and recast his jutting jaw. Leno persisted. A generous supporter of other comics, Leno also was fiercely competitive. ''My slogan has always been Sooner or later, the other person is going to have to eat, sleep, drink, go on vacation, have sex, do something. And that's when you catch him.''15 Along with his drive and durability, Leno was always accessible to customers and people in the comedy clubs, to fellow comics, to the press. ''I'm not one of those guys who run out the door once the show is over,'' he said in a 1996 interview. ''I like people I think that comes across. If you're working a high-school gym in Des Moines, it puts things in perspective. 16 In addition, Leno was very analytical about his comedy...

Cinema Navet

WE LIVE ALONG a cultural fault line that constantly threatens the vitality of the arts in America. On one side of this fault is the commonplace complaint that there is too much sex, violence, and offensive material in art and media. On the other side is an equally strong force that defends speech and expression in absolute terms, that resists anything that smells of censorship, and that elevates art of all kinds to an irreproachable level. Occupying but often lost in the cultural space between these two positions is a delicate ironic stance. This is an irony that contextualizes the concerns of both sides but remains independent enough to resist the Manichean terms of the debate. Without such irony we get riots over cartoons, churches boycotting movies with gay characters, and museum curators staunchly defending urine-soaked crucifixes.


Sensibility, a sort of subjective correlative of what the novelist feels about sex in the life of an artist. However, Riccardo and Emilia are both Italian and, as such, are closer to earthy essentials than Godard's transplanted French couple, Paul and Camille Javal, represented with Gallic perverseness by Michel Piccoli and Brigitte Bardot. Piccoli, grossly hirsute to the point of parodying the virility many artists like to assume as the mark of their m tier, is denied the nobly Homeric vision of Moravia's Molteni, and the audience does not see the problem through his eyes but, curiously enough, through Fritz Lang's.

Five Easy Pieces

The roots of Easy Rider lie primarily in the Hollywood B movie, also known in the 1960s as the ''exploitation film.'' Producer actor Peter Fonda, director actor Dennis Hopper, actor Jack Nicholson, and cinematographer Laszlo Kovacs had all worked for Roger Corman's production unit at American International Pictures. The story idea of Easy Rider, credited to Peter Fonda, stems from exploitation movies Fonda had acted in for Corman, especially The Wild Angels (motorcycles) and The Trip (drugs). As Ethan Mordden points out, the exploitation movie was a way ''to treat a theme of the day with some abandon.''1 Big-budget films from the Hollywood majors had standards of craftsmanship and taste which made for fairly conservative filmmaking. Exploitation films were supposed to be about sex and violence, rather than story, which means they could take liberties with the ''wellmade narrative.'' Films such as Wild in the Streets and The Wild Angels express something of the anarchic energy of 1960s...

Narrative Space

Does not make evident, which is namely the immensely liberating significance that Bergman wants to convey through Alma's tale, the sensual reality of a warm, expansive day on the beach, the sexual abandon, the physical intimacy, the strangely innocent fulfillment of this impersonal human contact across passion and lust. Thus, the expansion of Alma's self in the narration corresponds to the expansion of the cinematic image, and the reality of her experience becomes materialized in the visual reality of the room in its three-dimensionality.

Do The Rice Thing

Form a picture of Chow Yun-Fat in your head large dove's eyes, cute dimples, toothy grin. Perhaps the image you have is more than this, however perhaps it is an image of him totin' guns and mowing down throngs of adversaries, as in A Better Tomorrow (1986, HK), Hard Boiled (1993, HK) and countless other Hong Kong action rides. Or maybe you are thinking of Chow wearing slick suits and carrying a large wad of cash, as in God of Gamblers (1989, HK) and God of Gamblers' Return (1995, HK). Perhaps you are even struggling with the question of why you cannot quite recall having seen Chow Yun-Fat have sex in a movie - certainly not with Cherie Cheung in An Autumn Tale (1988, HK), Jodie Foster in the Hollywood production Anna and the King (1999, USA), or Michelle Yeoh in the US-China collaboration Crouching Tiger, Hidden Dragon (2000, US China), and definitely not with Danny Lee in The Killer (1989, HK) or Simon Lam in Full Contact (1992, HK). Not with anyone, ever, in fact.

The Eternal Question

Evelyn Nesbit Postcards

Evelyn Nesbit's career as an artists' model and chorus girl meant that she inhabited the commercial world in which the breakdown of class- and sex-segregated entertainments of the nineteenth century enabled the emergence of women as consumers. Lois Banner has shown how chorus girls were represented as exemplifying a new, modern concept of womanhood, one that involved independence, sexual freedom, and an enterprising, realistic attitude towards a career. 61 Visible in particular in the redefinition of working-class female sexuality, this discourse had far-reaching implications for the formulation of middle-class femininity in the later 1910s and the 1920s through the figure of the flapper and the new woman. 62 Indeed, Nes-

Estella Tincknell

It is when the twist contest begins (to the diegetically produced music of Chuck Berry's record, 'You Never Can Tell') that Pulp Fiction briefly shifts from its habitually ironic discourse to one that references the conventions of the classical film musical and in so doing makes it possible for the film to inhabit an affective space that goes beyond stylistic allusion. A stage is cleared for the two dancers (Travolta and Thurman), an 'audience' is produced out of the other diners and an energetic and intense performance is presented, a performance that is, momentarily, wholly centred on by the film. For the duration of the dance, the camera - and the attention of the viewer - is completely focused on Travolta and Thurman, just as though they were a dance partnership like Fred Astaire and Ginger Rogers. Yet its continuous movement - panning up and down the bodies, isolating them as individuals not a couple - is radically different from the tradition of the classical musical, and helps...

Celebrity Nudes

Similar to the segmentation of the market for printed pornography, commercial porn sites provide hundreds if not thousands of titles, catering from broad to narrowcast tastes. Amongst the range of erotic sites on the internet, celebrity nude sites have formed connections between the porn business and popular fame. Celebrity nude sites carry galleries of naked public personalities, with images of film stars posted alongside those of music stars, television and sports personalities, and other well-known figures, including models and politicians. In keeping with the representational economy of pornography in general, the volume of female celebrity images far exceeds the number of naked male images. Celebrity nude sites carry images of stars in various contexts stills from intimate scenes in films, or from porn films made before the performer was famous, are part of the familiar repertory paparazzi photos catch stars in states of undress while on holiday or relaxing in their private...

Writing Sharon

Of course, the persona implied here of a sexually attractive but dangerous woman, is intimately connected with Stone's character in the erotic thriller Basic Instinct (1992, USA), the role that made her a star. As Catherine Tramell, a successful novelist who carries out murders based on the plots of her best-sellers, Stone's performance with star Michael Douglas stretched the limits of explicitness in the mainstream cinema. Scenes in which an underwear-free Stone 'flashed' a group of interrogating police officers, or the opening sequence in which a naked blonde (later revealed to be Tramell) takes herself and a trussed-up male to orgasm then kills him with an ice pick, have a legendary status. Indeed, the ice pick, with its overtones of seizing the phallic initiative, might well be regarded as Stone's trademark. With three female leads who are either lesbian or bisexual, Basic Instinct only served to deepen the association between Stone's physiognomic capital and alternative (media...


Romance is the story of Marie (Caroline Ducey), a young teacher who has a boyfriend who is a male model. Since they have been living together he has backed away from having sexual relations. Although she craves sex he is turned off by the thought and abstention is their current sexual status. She seeks out sexual encounters while remaining in the relationship with her boyfriend. She picks up someone in a club and they plan an encounter the next day. Her headmaster seems supportive, but that support evolves into a sadomasochistic encounter with him. She also has a casual encounter on the street on her way home one day. After all of these encounters she has returned to the boyfriend. For her encounter with the headmaster, she dresses in red. Until this point white had been her color of choice. Whether it is the dress or something else, the boyfriend wants to have sex and she becomes pregnant from the one encounter. At the doctor's office, all the residents (male and female) as well as...

Anatomy of Hell

Finally we will look at the opening of Anatomy of Hell. Anatomy of Hell follows four nights of a sexual encounter between a woman (Amira Casar) and a homosexual (Rocco Siffredi). The end of the scene acknowledges the possibility of sexual intercourse between this man and woman, but their exchange of true feelings occurs in the opening. The woman is at a club. She is alone and seems unhappy in the midst of the sensual noise and dancing. She goes to the bathroom, where she slices her wrists. The homosexual enters and intervenes. He takes her to a doctor, who bandages her arms. She offers a kind of


At about 26 30, the filmmakers turn their attention to Soares's rival, Mark Zupan. We see Mark in personal moments as well, swimming and hanging out with his girlfriend, which opens the door to the issue of sexuality after injury. The filmmakers cut to the hospital, where Keith asks a doctor if he'll be able to be sexually active again. His doctor, who's able-bodied, introduces an instructional video (hosted by the doctor) the filmmakers cut to their own footage of a disabled man talking about sex, followed by Andy Cohn and then Scott Hogsett, who articulates the question Can you do it For these guys, the answer is yes, and they (and Keith's doctor, in his video) offer details. This sequence also lasts a bit more than five minutes, and then the film returns to its train the U.S. Canada rivalry (31 40), with text on screen Team Canada Training 8 months before Paralympics. (Note the effective use of signposts in this film, occasional reminders about who, what, and especially when as the...

Thomas Austin

During the 1990s, the internet developed into an important new means for film marketing and the dissemination of 'official' star images, as well as the circulation of gossip and unauthorised images beyond the control of studios and agents. Hollywood's initial rush to exploit the internet as a promotional window has been followed by increasing caution and retrenchment. Bob Levin, of MGM Distribution Co., recently commented, 'We were all had in the beginning' (Screen International, 5 April 2002 5). However, sexual and pornographic images have proved hugely popular on the net. Pornographers deployed the new technology 'farther and faster than legitimate si


The obvious fact is that stars do fail, and even the most successful eventually fade - unless early death freezes and immortalises them. Given all the attention to the manipulation of star personae, to the management of public opinion, and so on, what can we learn from cases of failure One film failure offers a case in point. Judge Dredd contributed greatly to the death of its parent company Cinergi, and did no favours to the star presence of its major star Sylvester Stallone. Yet the film may actually reveal much precisely in and through its failure, and might throw light on something which ought to concern us the failure of star studies to replicate the promise of perhaps its most famous single case study. In his study of Marilyn Monroe, Richard Dyer claimed to reveal a really close 'fit' between her persona (Monroe as soft, almost amorphous sexuality, whose body promises infinite pleasures while her talk seems innocently unaware of what her body...

Cynthia Baron

While analyses of the films' narrative trajectories have led audiences to discuss Christian, Darwinian and Freudian allegories in the texts, using insights from star studies reminds one that these Jekyll and Hyde productions have consistently invited their audiences to experience performances of masculinity.2 Studying the ways that Barrymore, March, Tracy and Malkovich have portrayed the connection between the doctor and his transgressive self can be deeply troubling, for audiences from various eras have been invited to enjoy permutations on a central, abiding vision of masculinity namely, that unlicensed sexual activity and violence against 'strangers' is the most conclusive sign of hard masculinity. The actors' performances can also provide a great deal of information about star performances, for in the films I have considered their performances resonate on more than one register. The stars' masterful and disturbing performances not only prove the true manliness of acting, an...

Stephen Tropiano

The myth (henceforth referred to as the ''seduction myth'') is based on an ahistorical and acultural interpretation of the sexual practices of the ancient Greeks. As Dover, Halperin, Foucault, and other historians have demonstrated, homosexual relations in ancient Athens (c. fifth century bc) were an institutionalized practice that operated in accordance with the patriarchal power structure of the state.2 As the most powerful members of Athenian society, adult male citizens could hold office, participate in the state assembly, and have sex with any member of a subordinate group who was inferior in social and political status (namely females, boys, foreigners, and slaves). The intergenerational relationship between an adult male citizen (the erastes, which means ''lover'') who pursued and seduced a male youth (the eromenos, the ''one who is loved'') was pedagogical in nature and consensual. An individual's social status also determined the role one assumed in sexual relations....

Looking for girls

Queer girls have come to represent some of the most transformative subjects within contemporary independent film, giving rise to new forms of youth cinema. The emergence of queer girl characters driving romantic narratives challenges normative ideals of heterosexual adolescent femininity while also opening up new ways of perceiving a desiring girl self-active within an intelligent process of becoming sexual. The emergence of diverse forms of visual storytelling that center on girls fantasizing about and pursuing other girls compels new interpretative practices. Unlike more oblique strategies of reading queerly against the grain of heteronormative cultural texts, intimate portrayals of girls' amorous relations with each other draw viewers into vividly sensual worlds, compelling a process of reception that engages directly with the cultural significations of queer girl experiences. What I am calling ''queer girl romance films'' do not merely add sexual minority subjects within an...

Since The s

Television shows providing Hollywood with new teen stars, and with a renewed comfort in the industry for handling adolescent issues. Teen films of the mid- to late-1990s began looking at sexual orientation, gender discrimination, and the postmodern nature of teen culture in general. In the surest sign of change since the 1980s, teens on screen began having sex again, and even liking it, as they learned to explore their sexual practices and endeavored to educate themselves about the subject. Films about teenage homosexuality became more common in the 1990s as well. Most queer youth depictions in the 1990s tended to deal with tensions around both sexual experience and romantic longing in other words, the same tensions that heterosexual teens are shown dealing with in other films. Early examples included My Own Private Idaho (1991) and Anything for Love (also known as Just One of the Girls, 1993) but the first film to boldly portray teenage characters as a queer group was Totally Fucked...

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