By Vern
Vern, the self-styled 'outlaw movie critic' is defined by way of Hellboy director Guillermo Del Toro as "equal parts Hell's Angels and Pauline Kael... a countrywide treasure!"
Now Vern unleashes his magnum opus: an in-depth learn of the world's purely aikido teacher became movie star/director/writer/blues guitarist/energy drink inventor, the ass-kicking auteur Steven Seagal.
"A e-book that'll shake the very foundations of movie feedback, holiday their wrists after which throw them via a window."
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Extra resources for Seagalogy: The Ass-Kicking Films of Steven Seagal
Example text
For instance, Exposed (1971) questions the male-dominated drives of the 1960s counterculture, while Anita: Swedish Nymphet (1973) functioned as a Swedish social problem film rather than sexploitation potboiler, depicting how a young woman’s uncontrollable sex drives lead to her gradual isolation from the more conformist settings of 1970s society. Whilst discussing the significance of these productions, Lindberg also considers the continued influence of her most controversial and celebrated cult title, Thriller (Bo Arne Vibenius, 1974).
This semi-comic undercutting of the prized signifier of porn pleasure confirms the fact that ‘the point of the Angel film is to privilege the fake, to endow it with a hyperrealism so that Angel’s artificial penis becomes better than a biologically functioning one’. If Angel’s noticeably altered body does indeed defy existing gender binaries, this sexually subversive element carries over to the climactic scenes of each encounter, which once again function to defy the primacy of the phallus in porno representation.
For instance, some female respondents cited the use of such material not as a primary aid to masturbation, but rather as a trigger for heightening body perceptions that assisted with the other social and domestic tasks they undertook. As Smith concludes, these important commentaries confirm the often reductive presumption that all porn is constructed in the same manner, and will impact on their consumers in identical ways. By advocating the concept of the ‘discriminating’ female porn consumer, the author notes that her respondents repeatedly returned to the concept of ‘authenticity’ to make distinctions between their own desires and the way these may deviate from the male-oriented images they frequently surveyed.