By Ernest Mathijs, Xavier Mendik
This moment identify within the AlterImage sequence that investigates formerly under-explored parts of well known and cult cinema ( Underground U.S.A. being the 1st quantity) good points over 20 essays from an eclectic diversity of writers uncovering the cult cinema of Europe. The writers give some thought to such strange and numerous themes as Russian horror cinema, British exploitation, Belgian replacement cinema and Black 'Emmanuelle' movies. Alternative Europe additionally contains unique interviews with such 'trash' movie administrators as Jess Fano and Brian Yuzna ( Reanimator, etc.).
thanks to psyko at CG
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Extra resources for Alternative Europe: Eurotrash and Exploitation Cinema Since 1945 (Alterimage)
Here, its explicit intention is to provide expert advise, take part in public debates (events, lectures, hearings, discussion panels, festivals), and generally support the visibility, dissemination and public understanding of alternative media arts. Together, these initiatives represent a rise in academic interest in the lowbrow undercurrents of cinema that have all too often been exorcised from critical scrutiny. It is our hope, as editors, that this book may contribute to their visibility. While taking away some of the mystery, it may also help to dissipate some fear.
T h e first cinematic reference to women in any kind of Nazi camp sequestered over to bordelloduty to satisfy the desires of either the camp's guards or soldiers arriving on furlough, appears to be The Pawnbroker (USA, 1964, Sidney Lumet). Here, in a flashback to his experiences in a concentration camp, Sol Nazerman accidentally discovers his wife held in such a bordello against her will. It is this experience in particular, the film argues, that finally destroyed Nazerman's humanity and partially 21 explains his current alienation.
Outraged, she escapes with Ray, demolishes much of tourist London, and ends up on top of Big Ben. Ray saves her from the military with an impassioned speech declaring her a symbol of oppressed women everywhere. Women across Britain take to the streets in the gorilla's defence, and she and Ray are returned safely to Lazanga-Where- 32 They-Do-The-Conga as an unlikely happy couple. T h e precise nature of their relationship is left tantalisingly vague. Queen Kong (1976) is a cheap, incompetent and, until recently, almost entirely unseen AngloItalian spoof of King Kong (1933), intended to cash in on the publicity for the big-budget 1976 remake.