Date sent: Thu, 24 Jul 1997 00:05:16 -0700
From: Kuang-Jung Chen <[email protected]> To: [email protected]
Subject: private hardcore by pierre woodman: the author theory in porno movies?
Private Hardcore by Pierre Woodman: the author theory in porno movies?
Reading lots of the reviews about private, and I find out that, except for those endless private stories, magazines and triple X, most reviewers mention the following private feature movies: "The Tower 1-3" (private film), "The Gigolo 1-2" (private film), "Capetown 1-2" (private gold), "Kruger Park" (private gold), "The Pyramid 1-3"(private gold), "Sweet Lady 1-2" (private gold). These movies are all directed by Pierre Woodman, who in my opinion is the best in the business. His private feature movies are not only far better than most American porno movies but also outshine other private productions. I think that Woodman is so far the real adult movie author and that nobody before me ever try to adopt "author theory" to evaluating porno movies.
The "author theory" was introduced by French film critics in the late 1950s; it treats certain movie directors as "authors" of their movies just like authors of books: certain distinct features are displayed in all the movies by these directors. For example, Alfred Hitchcock is one of the most respected movie authors and the theme of "male anxiety" is prevalent in all his films. Outside the "normal," mainstream film world exists Pierre Woodman. His unique authoretic "features" are totally relevant to porno movies, and that's why I distinguish him from John Leslie, Andrew Blake, and Michael Ninn, as the by now most qualified porno movie author.
Firstly, Woodman brings adult movies back to the filthy sexual literature tradition. That is, women are totally degraded as the sexual imagination, which is always ready for men to abuse) of men. In Woodman's movies, women are frequently called as sluts and whores (which I know really offends some American reviewers). Directly calling women as sluts, whores, pussies etc. is a tradition in sex novels; however, in most American films it doesn't usually happen. Compared to the women in Woodman's movies and the traditional sex novels, in American porno, the ladies are more aggressive and appear to have more power. This tradition of degrading women is very powerful in his movies because, at the same time, Woodman situates sex within a upper-middle class style of life. Most Woodman's sex adventures feature spectacular mansions or castles, and luxurious cars. The location where sex scenes occur are so delicate, and the sex is so direct. This contrast explores the irony of human desire: no matter how beautiful the outlooks the upper-middle class pursues, the basic human desire is nothing sacred but raw sex. Woodman's powerful use of the filthy tradition makes Andrew Blake's "middle class" porno movies fake and weak.
Most importantly, Woodman successfully combine the essential porno elements: full body shots and close-ups. In Woodman's movies, both full-body-shot and close-ups lovers can find what they want. In the review of "Reckless Encounter," I already pointed out that the excessive amounts of close-ups and not enough full body shots reduce the feeling of a sex scene. Since, the soft-core on cable dose not feature blowjob and facials, Woodman's private features become the prime choice for full-body-shot and facials lovers. Moreover, these movies also show a lot of clear, well shot close-ups, including countless anal, dp scenes, which can satisfy close-ups lovers. This alliance of full body shots and close-ups is the main reason why Woodman's movies are usually longer than 2 hours, especially he likes to put about 8 sex scenes in every his movie. As for the sex scenes, Woodman loves 2 men / 1 woman and shows more 2 women / 1 men in "Sweet Lady" series (his latest production); he also loves dp/anal and facials(in "The Tower" series, he even gives the main characters' loving of anal sex a reason: they are gays; thanks God he does not really show a man/man scene); he does not like orgy, and the biggest is 3 vs. 3 (this feature is contrast to other standard private productions which show huge orgies; I think it's because Woodman likes to show more detail of the fucking, so he would like to focus on fewer couples); his gang bang scenes usually feature no more than 5 men; he does show girl / girl scenes, which are rare in any private production, in "Capetwon 1" and "Sweet Lady 2," and only the one in "Sweet Lady" is a pure girl / girl scene (in "Capetwon 1," Woodman place a father fucking the stepmother while they watching their daughter fucking her female classmate, an extremely hot scene). Except for these Woodman's authoretic features, there is one more thing makes his movies more exciting than other private productions -- the women in his movies are more beautiful than those in other private productions. These features, including the combination of full body shots and clear close-ups, appear in every single Woodsman movie. His authoretic elements are all about porno movies, not about cinematography, art design (Andrew Blake), or computer effect (Michael Ninn, whose movies also have great cinematography and art design), or pseudo-documentary film form (Buttman) which has been popular in Japanese porno industry since mid 1980s.
One reviewer used to comment that Woodsman's authoretic features make his movie predictable and boring. This comment is true for porno audience who does not like this kind of routine (beautiful ladies, great full body shots, clear close-ups, dps, facials); however, for a porno fan, such as myself, who loves full body shot and facials, probably would grab every movie following this routine. Viewing more than hundreds of porno movies, I do not really expect there is "surprise" about sex (however, there is surprise about filmmaking in such movies as "The Curse of Catwomen" and "Shock") in an adult video. To me, Woodman's routine is far superior to the routine in standard American porno movies, and I appreciate that this kind of routine exists.
169 “I can arrange all that.” Such Apaches as had not gone back on the war-path returned to the States with the troops; but there were five months more of the outrages of Geronimo and his kind. Then in the summer of the year another man, more fortunate and better fitted to deal with it all, perhaps,—with the tangle of lies and deceptions, cross purposes and trickery,—succeeded where Crook had failed and had been relieved of a task that was beyond him. Geronimo was captured, and was hurried off to a Florida prison with his band, as far as they well could be from the reservation they had refused to accept. And with them were sent other Indians, who had been the friends and helpers of the government for years, and who had run great risks to help or to obtain peace. But the memory and gratitude of governments is become a proverb. The southwest settled down to enjoy its safety. The troops rested upon the laurels they had won, the superseded general went on with his work in another field far away to the north. The new general, the saviour of the land, was heaped[Pg 305] with honor and praise, and the path of civilization was laid clear. Parliament met on the 10th of January, 1765. The resentment of the Americans had reached the ears of the Ministry and the king, yet both continued determined to proceed. In the interviews which Franklin and the other agents had with the Ministers, Grenville begged them to point to any other tax that would be more agreeable to the colonists than the stamp-duty; but they without any real legal grounds drew the line between levying custom and imposing an inland tax. Grenville paid no attention to these representations. Fifty-five resolutions, prepared by a committee of ways and means, were laid by him on the table of the House of Commons at an early day of the Session, imposing on America nearly the same stamp-duties as were already in practical operation in England. These resolutions being adopted, were embodied in a bill; and when it was introduced to the House, it was received with an apathy which betrayed on all hands the profoundest ignorance of its importance. Burke, who was a spectator of the debates in both Houses, in a speech some years afterwards, stated that he never heard a more languid debate than that in the Commons. Only two or three persons spoke against the measure and that with great composure. There was but one division in the whole progress of the Bill, and the minority did not reach to more than thirty-nine or forty. In the Lords, he said, there was, to the best of his recollection, neither division nor debate! His cheek paled for an instant as the thought obtruded that the man might resist and he have to really shoot him. "Good, the old man's goin' to take the grub out to 'em himself," thought the Deacon with relief. "He'll be easy to manage. No need o' shootin' him." "Them that we shot?" said Shorty carelessly, feeling around for his tobacco to refill his pipe. "Nothin'. I guess we've done enough for 'em already." John Dodd, twenty-seven years old, master, part of the third generation, arranged his chair carefully so that it faced the door of the Commons Room, letting the light from the great window illumine the back of his head. He clasped his hands in his lap in a single, nervous gesture, never noticing that the light gave him a faint saintlike halo about his feathery hair. His companion took another chair, set it at right angles to Dodd's and gave it long and thoughtful consideration, as if the act of sitting down were something new and untried. "Besides," Norma said desperately, "they're only rumors—" "Oh, I've found a way of gitting shut of them rootses—thought of it while I wur working at the trees. I'm going to blast 'em out." During the next ten years the farm went forward by strides. Reuben bought seven more acres of Boarzell in '59, and fourteen in '60. He also bought a horse-rake, and threshed by machinery. He was now a topic in every public-house from Northiam to Rye. His success and the scant trouble he took to conciliate those about him had made him disliked. Unprosperous farmers[Pg 124] spoke windily of "spoiling his liddle game." Ditch and Ginner even suggested to Vennal that they should club together and buy thirty acres or so of the Moor themselves, just to spite him. However, money was too precious to throw away even on such an object, especially as everyone felt sure that Backfield would sooner or later "bust himself" in his dealings with Boarzell. "Let's go home," she said faintly—"it's getting late." HoME干别人老婆嗯啊小说 ENTER NUMBET 0017