Jane Steinberg, Rebecca Butler, Mark Roy Mcgrath, and Peter R. Kerndt
- Published in print:
- 2012
- Published Online:
- January 2014
- ISBN:
- 9780199892761
- eISBN:
- 9780199301515
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199892761.003.0037
- Subject:
- Public Health and Epidemiology, Public Health
This chapter provides an overview of the Sexually Transmitted Disease (STD) and Human Immunodeficiency Virus (HIV) related occupational hazards among performers who work in the adult film industry in ...
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This chapter provides an overview of the Sexually Transmitted Disease (STD) and Human Immunodeficiency Virus (HIV) related occupational hazards among performers who work in the adult film industry in Los Angeles County. The chapter presents local STD/HIV morbidity data and current industry practices that increase worker risks for disease, including lack of condom use and reliance on testing as a means to control disease. Also described is California Division of Occupational Safety and Health’s (Cal/OSHA) involvement in worker health and safety in the industry, models of successful regulations in other jurisdictions, enforcement challenges, legislative efforts and regulatory proposals. The chapter concludes with health and safety recommendations for the industry endorsed by local, state and national public health agencies.Less
This chapter provides an overview of the Sexually Transmitted Disease (STD) and Human Immunodeficiency Virus (HIV) related occupational hazards among performers who work in the adult film industry in Los Angeles County. The chapter presents local STD/HIV morbidity data and current industry practices that increase worker risks for disease, including lack of condom use and reliance on testing as a means to control disease. Also described is California Division of Occupational Safety and Health’s (Cal/OSHA) involvement in worker health and safety in the industry, models of successful regulations in other jurisdictions, enforcement challenges, legislative efforts and regulatory proposals. The chapter concludes with health and safety recommendations for the industry endorsed by local, state and national public health agencies.
Elena Gorfinkel
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9781517900175
- eISBN:
- 9781452957708
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9781517900175.003.0005
- Subject:
- Film, Television and Radio, Film
Traces the reception of sexploitation film in the latter half of the 1960s, as pornography and obscenity begin to resonate publicly as national problems. It analyzes varied responses of audiences, ...
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Traces the reception of sexploitation film in the latter half of the 1960s, as pornography and obscenity begin to resonate publicly as national problems. It analyzes varied responses of audiences, critics, countercultural observers and researchers to the sexploitation film in the latter part of the decade, as the “adult film viewer” becomes an object of concern and anxiety, derision and curiosity.Less
Traces the reception of sexploitation film in the latter half of the 1960s, as pornography and obscenity begin to resonate publicly as national problems. It analyzes varied responses of audiences, critics, countercultural observers and researchers to the sexploitation film in the latter part of the decade, as the “adult film viewer” becomes an object of concern and anxiety, derision and curiosity.
Elena Gorfinkel
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9781517900175
- eISBN:
- 9781452957708
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9781517900175.003.0002
- Subject:
- Film, Television and Radio, Film
Considers film regulation one of the defining contexts of the sexploitation film, as it developed on the heels of legal decisions in the late 1950s that rendered nudity in film no longer obscene; it ...
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Considers film regulation one of the defining contexts of the sexploitation film, as it developed on the heels of legal decisions in the late 1950s that rendered nudity in film no longer obscene; it traces the ways that the sexploitation film was censored and regulated in the decade, from obscenity cases and state censor boards to less formal and more local modes of regulation.Less
Considers film regulation one of the defining contexts of the sexploitation film, as it developed on the heels of legal decisions in the late 1950s that rendered nudity in film no longer obscene; it traces the ways that the sexploitation film was censored and regulated in the decade, from obscenity cases and state censor boards to less formal and more local modes of regulation.
Calum Waddell
- Published in print:
- 2018
- Published Online:
- May 2020
- ISBN:
- 9781474409254
- eISBN:
- 9781474449625
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474409254.003.0004
- Subject:
- Film, Television and Radio, Film
The first chapter of ‘The Style of Sleaze’ to discuss the sexploitation film and its genesis and history. The argument made is that softcore filmmaking of the 1960s, in particular, has a clear ...
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The first chapter of ‘The Style of Sleaze’ to discuss the sexploitation film and its genesis and history. The argument made is that softcore filmmaking of the 1960s, in particular, has a clear stylistic link to the later ‘hardcore’ period (which most scholars treat as a separate entity). This stylistic evolution is discussed in this chapter and singles out five key films.Less
The first chapter of ‘The Style of Sleaze’ to discuss the sexploitation film and its genesis and history. The argument made is that softcore filmmaking of the 1960s, in particular, has a clear stylistic link to the later ‘hardcore’ period (which most scholars treat as a separate entity). This stylistic evolution is discussed in this chapter and singles out five key films.
Elena Gorfinkel
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9781517900175
- eISBN:
- 9781452957708
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9781517900175.003.0003
- Subject:
- Film, Television and Radio, Film
Explores the development of a sexploitation gaze and the assertion of a “freedom to look” at nude bodies in the innocuous nudie cutie and the more violent roughie films 1960-1965, examining the ...
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Explores the development of a sexploitation gaze and the assertion of a “freedom to look” at nude bodies in the innocuous nudie cutie and the more violent roughie films 1960-1965, examining the figure of the gawker and the peeper that was so central to the definition of sexploitation as a mode.Less
Explores the development of a sexploitation gaze and the assertion of a “freedom to look” at nude bodies in the innocuous nudie cutie and the more violent roughie films 1960-1965, examining the figure of the gawker and the peeper that was so central to the definition of sexploitation as a mode.
Elena Gorfinkel
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9781517900175
- eISBN:
- 9781452957708
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9781517900175.003.0004
- Subject:
- Film, Television and Radio, Film
Takes up the expansion of the “sexploitation gaze” in the latter half of the sixties decade, pursuing the freedom to look as one bestowed on female lust and desire, in films from roughly 1965-1970. ...
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Takes up the expansion of the “sexploitation gaze” in the latter half of the sixties decade, pursuing the freedom to look as one bestowed on female lust and desire, in films from roughly 1965-1970. Examines film cycles that took up female and “perverse” sexuality, and that dealt with sadism and masochism, lesbianism, sexual “perversions” and with swinging and the counterculture.Less
Takes up the expansion of the “sexploitation gaze” in the latter half of the sixties decade, pursuing the freedom to look as one bestowed on female lust and desire, in films from roughly 1965-1970. Examines film cycles that took up female and “perverse” sexuality, and that dealt with sadism and masochism, lesbianism, sexual “perversions” and with swinging and the counterculture.
Elena Gorfinkel
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9781517900175
- eISBN:
- 9781452957708
- Item type:
- book
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9781517900175.001.0001
- Subject:
- Film, Television and Radio, Film
Lewd Looks: American Sexploitation’s Cinema Scenes of Looking examines the efflorescence of American sexploitation films in the United States in the years between 1960 and 1972. Approximately ...
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Lewd Looks: American Sexploitation’s Cinema Scenes of Looking examines the efflorescence of American sexploitation films in the United States in the years between 1960 and 1972. Approximately hundreds, if not close to a thousand of such films were made in the 1960s, yet no scholarly book exists on the subject. Employing nudity but soft-core and melodramatic in tone, sexploitation films were preoccupied with the conditions of looking at exposed female flesh, conditions that they also archive and document. Defined by their low-budgets, crude mise-en-scène, and an unswerving focus on a fantastically unfettered female sexuality, sexploitation films resembled lurid pulp novels and erotic tabloids, setting the stage for the emergence of the hard-core porn film in the early 1970s with their illicit, if comparably chaste views. This book examines how the 1960s sexploitation film reconfigured the sexualized body onscreen by presenting a dialectics of indulgence and circumspection, tease and subterfuge. Gorfinkel draws on archival research and close analysis to explore sexploitation films’ regulation, reception, and strategies of sexual representation. The book reveals how sixties sexploitation films possessed a “circumstantial reflexivity,” thematizing their own conditions of reception, impacted by anxieties surrounding American film spectatorship and erotic consumption in this period.Less
Lewd Looks: American Sexploitation’s Cinema Scenes of Looking examines the efflorescence of American sexploitation films in the United States in the years between 1960 and 1972. Approximately hundreds, if not close to a thousand of such films were made in the 1960s, yet no scholarly book exists on the subject. Employing nudity but soft-core and melodramatic in tone, sexploitation films were preoccupied with the conditions of looking at exposed female flesh, conditions that they also archive and document. Defined by their low-budgets, crude mise-en-scène, and an unswerving focus on a fantastically unfettered female sexuality, sexploitation films resembled lurid pulp novels and erotic tabloids, setting the stage for the emergence of the hard-core porn film in the early 1970s with their illicit, if comparably chaste views. This book examines how the 1960s sexploitation film reconfigured the sexualized body onscreen by presenting a dialectics of indulgence and circumspection, tease and subterfuge. Gorfinkel draws on archival research and close analysis to explore sexploitation films’ regulation, reception, and strategies of sexual representation. The book reveals how sixties sexploitation films possessed a “circumstantial reflexivity,” thematizing their own conditions of reception, impacted by anxieties surrounding American film spectatorship and erotic consumption in this period.
Meghann Meeusen
- Published in print:
- 2020
- Published Online:
- January 2021
- ISBN:
- 9781496828644
- eISBN:
- 9781496828699
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496828644.001.0001
- Subject:
- Literature, 20th-century and Contemporary Literature
Adaptation studies scholars suggest that no matter how interesting it may be to pick apart a film’s consistency with and departure from its source, these approaches can be limiting because books and ...
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Adaptation studies scholars suggest that no matter how interesting it may be to pick apart a film’s consistency with and departure from its source, these approaches can be limiting because books and movies operate as two very different mediums. Children’s Books on the Big Screen moves away from this approach by tracing a pattern across films for young viewers to highlight a consistent trend: when films are adapted from children’s and YA books, concepts like self/other, male/female, and adult/child become more strongly contrasted and more diametrically opposed in the film version. Children’s Books on the Big Screen describes this as binary polarization, suggesting that more stark opposition between concepts leads to shifts in the messages that texts send, particularly when it comes to representations of gender, race, and childhood.
After introducing why critics need a new way of thinking about children’s adapted texts, Children’s Books on the Big Screen uses middle-grade fantasy adaptations to consider the reason for binary polarization and looks at the ideological results of polarized binaries in adolescent films and movies adapted from picturebooks. The text also explores movies adapted from The Wonderful Wizard of Oz to dig into instances when multiple films are adapted from a single source and ends with pragmatic classroom application, suggesting teachers might utilize this theory to help students think critically about movies created by the Walt Disney corporation. Drawing from numerous popular contemporary examples, Children’s Books on the Big Screen posits a theory that can begin to explain what happens—and what is at stake—when children’s and young adult books are made into movies.Less
Adaptation studies scholars suggest that no matter how interesting it may be to pick apart a film’s consistency with and departure from its source, these approaches can be limiting because books and movies operate as two very different mediums. Children’s Books on the Big Screen moves away from this approach by tracing a pattern across films for young viewers to highlight a consistent trend: when films are adapted from children’s and YA books, concepts like self/other, male/female, and adult/child become more strongly contrasted and more diametrically opposed in the film version. Children’s Books on the Big Screen describes this as binary polarization, suggesting that more stark opposition between concepts leads to shifts in the messages that texts send, particularly when it comes to representations of gender, race, and childhood.
After introducing why critics need a new way of thinking about children’s adapted texts, Children’s Books on the Big Screen uses middle-grade fantasy adaptations to consider the reason for binary polarization and looks at the ideological results of polarized binaries in adolescent films and movies adapted from picturebooks. The text also explores movies adapted from The Wonderful Wizard of Oz to dig into instances when multiple films are adapted from a single source and ends with pragmatic classroom application, suggesting teachers might utilize this theory to help students think critically about movies created by the Walt Disney corporation. Drawing from numerous popular contemporary examples, Children’s Books on the Big Screen posits a theory that can begin to explain what happens—and what is at stake—when children’s and young adult books are made into movies.
Ravi Agrawal
- Published in print:
- 2019
- Published Online:
- November 2020
- ISBN:
- 9780190858650
- eISBN:
- 9780197559857
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190858650.003.0010
- Subject:
- Computer Science, History of Computer Science
In the year 2012, a generation ago in digital technology, the person who generated the most internet searches in India was not a cricketer or a Bollywood ...
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In the year 2012, a generation ago in digital technology, the person who generated the most internet searches in India was not a cricketer or a Bollywood star. Nor was it a politician or a religious figure. None of them were close. The person most Indians were curious about that year—as measured by the total number of Google searches—was Canadian-Indian Karenjit Kaur Vohra, a.k.a. Sunny Leone, a former porn star and Penthouse Pet of the Year. It wasn’t the case only in 2012. As hundreds of millions of Indians continued to discover the internet through 2013, 2014, 2015, 2016, and even 2017, Sunny Leone remained the most-searched-for person in India. People simply couldn’t get enough. (Prime Minister Narendra Modi made it to number two in 2014, the year he was elected, but Leone remained the clear favorite.) Prudish, conservative, family-values India . . . and a porn star? Leone was no longer even performing; she had stopped around 2010 and started her own production company with her husband and manager, Daniel Weber. In 2011, she came to India as a guest on the reality TV show Bigg Boss, a local version of the Big Brother franchise. Leone’s appearance was predictably controversial (by design, of course: it was good for the ratings). Although most Indians hadn’t heard of her, it didn’t take long for word to spread: “A porn star—from America—here in India?” At the time, parliamentarian Anurag Thakur complained to the Ministry of Information and Broadcasting, arguing that Leone’s presence on a nationally telecast program would “have a negative impact on the mindset of children.” Thakur added: “When children see these porn stars on TV and then do a Google search, it shows a vulgar site. It will have a bad impact in the long run.” There were no laws, however, to stop Leone from appearing on TV. While the production of pornography was officially illegal in India, Leone could justifiably argue she was no longer involved in the industry. She was trying to pivot to general entertainment.
Less
In the year 2012, a generation ago in digital technology, the person who generated the most internet searches in India was not a cricketer or a Bollywood star. Nor was it a politician or a religious figure. None of them were close. The person most Indians were curious about that year—as measured by the total number of Google searches—was Canadian-Indian Karenjit Kaur Vohra, a.k.a. Sunny Leone, a former porn star and Penthouse Pet of the Year. It wasn’t the case only in 2012. As hundreds of millions of Indians continued to discover the internet through 2013, 2014, 2015, 2016, and even 2017, Sunny Leone remained the most-searched-for person in India. People simply couldn’t get enough. (Prime Minister Narendra Modi made it to number two in 2014, the year he was elected, but Leone remained the clear favorite.) Prudish, conservative, family-values India . . . and a porn star? Leone was no longer even performing; she had stopped around 2010 and started her own production company with her husband and manager, Daniel Weber. In 2011, she came to India as a guest on the reality TV show Bigg Boss, a local version of the Big Brother franchise. Leone’s appearance was predictably controversial (by design, of course: it was good for the ratings). Although most Indians hadn’t heard of her, it didn’t take long for word to spread: “A porn star—from America—here in India?” At the time, parliamentarian Anurag Thakur complained to the Ministry of Information and Broadcasting, arguing that Leone’s presence on a nationally telecast program would “have a negative impact on the mindset of children.” Thakur added: “When children see these porn stars on TV and then do a Google search, it shows a vulgar site. It will have a bad impact in the long run.” There were no laws, however, to stop Leone from appearing on TV. While the production of pornography was officially illegal in India, Leone could justifiably argue she was no longer involved in the industry. She was trying to pivot to general entertainment.