Alternative Europe: Eurotrash and Exploitation Cinema Since by Ernest Mathijs, Xavier Mendik

By Ernest Mathijs, Xavier Mendik

This moment name within the AlterImage sequence that investigates formerly under-explored parts of well known and cult cinema ( Underground U.S.A. being the 1st quantity) gains over 20 essays from an eclectic variety of writers uncovering the cult cinema of Europe. The writers reflect on such strange and various issues as Russian horror cinema, British exploitation, Belgian replacement cinema and Black 'Emmanuelle' movies. Alternative Europe additionally comprises particular interviews with such 'trash' movie administrators as Jess Fano and Brian Yuzna ( Reanimator, etc.).

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Extra resources for Alternative Europe: Eurotrash and Exploitation Cinema Since 1945 (Alterimage)

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The obvious symptomatic reading of the film will do quite nicely, and can be grasped in a sentence or two. As Ray says in his defence of Queen Kong, which ensures her return to Laganza (or, to keep up the hidden racial implications, benevolent repatriation) - 'You cannot destroy her, for she represents women everywhere', a cry accompanied by a montage of women liberating themselves from domestic and sexual drudgery. This satirises feminism, of course, because it is ridiculous that laddish Robin Askwith should be the spokesperson of female emancipation.

E. ' 8 Even this 'historical' description of Use Koch, from a historical encyclopaedia-type book, reduces the complexities of a real person into its most sensational elements in order to convey the extreme behaviours of those who ran the concentration camps. But other characterisations of Use Koch also appear in some of the Italian sexploitation films too. For example, in L'Ultima orgia, Alma, the camp's lascivious second-in-command, proudly shows off a pair of gloves made from a baby's skin, and, more 'historically accurate', a lampshade made of human leather to preserve a beautiful tattoo.

What perhaps does make these particular films feel different is their relationship to a much more recent history - often still a living history. CONCLUSION Studies of cult and exploitation films often try to justify their interest based on kitsch or aesthetic grounds. Jeffrey Sconce's 'paracinema' attempts to explore the inherent aesthetics of the film, even when they violate academy-defined notions of taste and quality. He notes: By concentrating on a film's formal bizarreness and stylistic eccentricity, the paracinematic audience ...

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