Elena Gorfinkel's guest appearances

Elena Gorfinkel

The Cinephiliacs

Porno Cultures Podcast

David Ehrlich

Robert Greene

Jerry Lewis

Sam Adams

Barry Lyndon

Justine Smith

Chris Harder

James Agee

Karina Longworth

Matt Zoller Seitz

Roger Ebert

Eric Allen

Mark Harris

Craig Simpson

Adam Kempenaar

OwlTail

Color

As this podcast has aimed to define, those who watch cinema can often be more revealing of culture than cinema itself. In her book, Lewd Looks, Elena Gorfinkel explores the sexploitation era of the 1960s. However, she looks past the texts to consider some of the more aspects of spectators and the public who shaped this unique era. The result is a fascinating text that considers cinephilia's history in ways that imagines both a more dynamic and complex past alongside a new way of formulating our current moment. Peter and Elena go on to discuss the issues surrounding cinephilia today and Elena's own work outside of the academic halls. Finally, Elena brings in the fascinating experimental work The Color of Love from filmmaker Peggy Ahwesh, considering how this work literally found in a dumpster becomes a cinephilie love letter to another forgotten filmmaker. 0:00–3:16 Opening4:01–1:03:33 Deep Focus — Elena Gorfinkel1:04:30–1:03:33 Sponsorship Section1:08:24–1:25:14 Double Exposure — The Color of Love (Peggy Ahwesh)1:25:19–1:26:52 Close

As this podcast has aimed to define, those who watch cinema can often be more revealing of culture than cinema itself. In her book, Lewd Looks, Elena Gorfinkel explores the sexploitation era of the 1960s. However, she looks past the texts to consider some of the more aspects of spectators and the public who shaped this unique era. The result is a fascinating text that considers cinephilia's history in ways that imagines both a more dynamic and complex past alongside a new way of formulating our current moment. Peter and Elena go on to discuss the issues surrounding cinephilia today and Elena's own work outside of the academic halls. Finally, Elena brings in the fascinating experimental work The Color of Love from filmmaker Peggy Ahwesh, considering how this work literally found in a dumpster becomes a cinephilie love letter to another forgotten filmmaker. 0:00–3:16 Opening4:01–1:03:33 Deep Focus — Elena Gorfinkel1:04:30–1:03:33 Sponsorship Section1:08:24–1:25:14 Double Exposure — The Color of Love (Peggy Ahwesh)1:25:19–1:26:52 Close

TC #116 - Elena Gorfinkel (The Color of Love)

In this episode we delve into the seedy and exciting world of sexploitation cinema! Oftentimes, pornography studies is so busy working to legitimate hard core texts that we sometimes forget about the wide-world of soft core cinema. Just before the “Golden Age” of theatrically released pornography in the late 1960s, there was almost a decade of sexploitation cinema single-handedly keeping alive a dying studio system that had lost its dominance in light of losing its profits from owning theaters and the invention of the in-home entertainment system knowns as television. Sexploitation movies are a mode of cinema consisting of cheaply financed, quickly made, with B-grade acting adapted to a variety of film genres. There are sexploitation movies that look like film noirs from the 1940s (with nudity), teen beach movies from the 1950s (with nudity), and even sci-fi movies (with nudity)! These movies allowed for a new generation of filmmakers to break into the industry without the heavy burden of having to prove themselves with a big budget or A-list actors. Exploitation cinema is a crucial part of Hollywood history that thankfully has been given the attention it deserves with Elena Gorfinkel’s new book Lewd Looks: American Sexploitation Cinema in the 1960s (University of Minnesota Press, 2017). Elena’s remarkable book is a deep historical and theoretical dive into the legal history, feminist perspective, legal conditions, and critical response to sexploitation films. In this interview we talk about how Kim’s Video in New York City facilitated her interest in sexploitation films, we talk about the Marxist and feminist implications of sexploitation, we consider why film critics of the 1960s were so “bored” watching sexploitation, and we talk about her role as the co-chair of the Adult Film History Special Interest Research Group, which is a part of the Society for Cinema and Media Studies. If you’re looking for a primer on the history of sexploitation, you’ve come to the right podcast!Lewd Looks: American Sexploitation Cinema in the 1960sElena’s TwitterWas '60s Sexploitation Cinema More Than Just Pornography?Bold! Daring! Shocking! True!: A History of Exploitation Films, 1919-1959Elena’s Interview with Feminist Media Histories about “Sex and the Materiality of Adult Media”Fieldnotes: Constance Penley interviewed by Elena Gorfinkel“The Story of Kim’s Video &amp; Music, Told by its Clerks and Customers”A Farewell to Kim’s VideoArt Zone: The Wonderfully Weird World of Lisa Petrucci Something Weird catalog pornocultures.podomatic.com facebook.com/AcademicSex@PornoCulturesHelp Support the Podcast!More info about Brandon Arroyo

In this episode we delve into the seedy and exciting world of sexploitation cinema! Oftentimes, pornography studies is so busy working to legitimate hard core texts that we sometimes forget about the wide-world of soft core cinema. Just before the “Golden Age” of theatrically released pornography in the late 1960s, there was almost a decade of sexploitation cinema single-handedly keeping alive a dying studio system that had lost its dominance in light of losing its profits from owning theaters and the invention of the in-home entertainment system knowns as television. Sexploitation movies are a mode of cinema consisting of cheaply financed, quickly made, with B-grade acting adapted to a variety of film genres. There are sexploitation movies that look like film noirs from the 1940s (with nudity), teen beach movies from the 1950s (with nudity), and even sci-fi movies (with nudity)! These movies allowed for a new generation of filmmakers to break into the industry without the heavy burden of having to prove themselves with a big budget or A-list actors. Exploitation cinema is a crucial part of Hollywood history that thankfully has been given the attention it deserves with Elena Gorfinkel’s new book Lewd Looks: American Sexploitation Cinema in the 1960s (University of Minnesota Press, 2017). Elena’s remarkable book is a deep historical and theoretical dive into the legal history, feminist perspective, legal conditions, and critical response to sexploitation films. In this interview we talk about how Kim’s Video in New York City facilitated her interest in sexploitation films, we talk about the Marxist and feminist implications of sexploitation, we consider why film critics of the 1960s were so “bored” watching sexploitation, and we talk about her role as the co-chair of the Adult Film History Special Interest Research Group, which is a part of the Society for Cinema and Media Studies. If you’re looking for a primer on the history of sexploitation, you’ve come to the right podcast! Lewd Looks: American Sexploitation Cinema in the 1960s Elena’s Twitter Was '60s Sexploitation Cinema More Than Just Pornography? Bold! Daring! Shocking! True!: A History of Exploitation Films, 1919-1959 Elena’s Interview with Feminist Media Histories about “Sex and the Materiality of Adult Media” Fieldnotes: Constance Penley interviewed by Elena Gorfinkel “The Story of Kim’s Video &amp; Music, Told by its Clerks and Customers” A Farewell to Kim’s Video Art Zone: The Wonderfully Weird World of Lisa Petrucci  Something Weird catalog   <a href="http://pornocultures.podomatic.com" rel="nofollow" target="_blank">pornocultures.podomatic.com</a> <a href="http://facebook.com/AcademicSex" rel="nofollow" target="_blank">facebook.com/AcademicSex</a> @PornoCultures Help Support the Podcast! More info about Brandon Arroyo