Portal de Periódicos da CAPES

Editor's Introduction

2019; University of California Press; Volume: 5; Issue: 2 Linguagem: Inglês

10.1525/fmh.2019.5.2.1

2373-7492

Elena Gorfinkel,

Art, Politics, and Modernism

Editorial| April 01 2019 Editor's Introduction: Sex and the Materiality of Adult Media Elena Gorfinkel Elena Gorfinkel Elena Gorfinkel is a senior lecturer in film studies at King's College London. She is the author of Lewd Looks: American Sexploitation Cinema in the 1960s (University of Minnesota Press, 2017) and coeditor of Global Cinema Networks (Rutgers University Press, 2018) and Taking Place: Location and the Moving Image (University of Minnesota Press, 2011). Her writings on sexuality, women's filmmaking, and marginal cinemas have appeared in Camera Obscura, Journal of Cinema and Media Studies, Screen, Framework, Discourse, Jump Cut, World Picture, and several edited collections. She also regularly writes criticism for Sight and Sound and Art Monthly. She received a Creative Capital/The Andy Warhol Foundation Arts Writers Grant for her book project Aesthetic Strike: Cinemas of Exhaustion. Search for other works by this author on: This Site PubMed Google Scholar Feminist Media Histories (2019) 5 (2): 1–18. https://doi.org/10.1525/fmh.2019.5.2.1 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Elena Gorfinkel; Editor's Introduction: Sex and the Materiality of Adult Media. Feminist Media Histories 1 April 2019; 5 (2): 1–18. doi: https://doi.org/10.1525/fmh.2019.5.2.1 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentFeminist Media Histories Search It sounds like a setup, but it is adult film history: three women filmmakers meet in an adult novelty store in Coconut Grove, Florida. The year is 1994. One is Peggy Ahwesh, the New York–based avant-garde filmmaker. In works like Martina's Playhouse (1989), The Scary Movie (1993), and The Deadman (1989), her feminist, sexually provocative, Bataillean, punk-inflected cinema embraces bricolage, found footage, performance, and portraiture, often of women in states of abandon, refusal, and jouissance. With her is M. M. Serra, experimental filmmaker, curator, teacher, director of the Film-Makers' Cooperative, and advocate of and pedagogue on the cinematic possibilities of female sexuality. They are there to see the third: sexploitation auteur Doris Wishman, then a historical novelty for a coterie of cult video collectors. Wishman had been profiled in the RE/Search book Incredibly Strange Films (1986) and was one of few women working in the largely male-helmed cottage industry... You do not currently have access to this content.