04w08:1 Nazi Porn

by timothy. 0 Comments


High-definition porn has arrived. That’s bad news for HDTV. | Brendan I. Koerner
“The HDTV microscope could kill the fantasy that the adult industry peddles. Hollywood is already learning this lesson the hard way: HDTV has revealed that some glamorous stars look a lot more pedestrian than we’ve been led to believe. And the makeup tricks that protect the aging and less-than-perfect are easy to spot in HDTV. When technology pundit Phillip Swann first saw the Charlie’s Angels movie in HDTV, he was taken aback by Cameron Diaz’s appearance. ‘Diaz looks like a different person,’ he marveled in the pages of Television Week, noting that her face has been ravaged by acne over the years. ‘She’s still very pretty. But to be very frank, I doubt that she would make People’s ‘Most Beautiful’ list.’ ”

The Eloquence of Pornography | Laura Kipnis
“Pornography should interest us, because it’s intensely and relentlessly about us. It involves the roots of our culture and the deepest corners of the self. It’s not just friction and naked bodies: pornography has eloquence. It has meaning, it has ideas. It even has redeeming ideas. So why all the distress? […] Despite knowing this, it’s difficult to envision contemporary pornography as a form of culture or as a mode of politics. There’s virtually no discussion of pornography as an expressive medium in the positive sense — the only expressing it’s presumed to do is of misogyny or social decay. That it might have more complicated social agendas, or that future historians of the genre might produce interesting insights about pornography’s relation to this particular historical and social moment — these are radically unthought thoughts.”

Porn und Drang | Luke Harding
“Before submitting his manuscript to his publisher last summer, Kunkel had researched long and hard into one of the most subterranean aspects of the Nazi era – a series of erotic home movies known as the Sachsenwald films, shot secretly in 1941. Officially, pornography was forbidden under the Nazis; in reality, however, the films were not only screened privately for the amusement of senior Nazi figures, but were also traded in north Africa for insect repellent and other commodities”

The death pit | Janina Struk
“Finally, whether the scene was photographed at Sniatyn, Bochnia, Sniadowo, Lodz or Drohobycz – towns hundreds of miles apart, or in Latvia or the Soviet Union or somewhere else, and whether it was taken in 1939, 1941, 1943 or 1944, we do not know. So what does it tell us? In a sense, it says everything. That the Germans and their collaborators took photographs of their crimes to keep as mementoes and trophies. That brave resisters smuggled such images out of their occupied countries to provide evidence of Nazi atrocities. That the Holocaust has at times been promoted, at other times suppressed, as a central story of the second world war. That the death pit image has been made to serve the propaganda purposes variously of the Nazis, the resistance and the Warsaw pact. That curators, documentary makers and publishers have been remarkably promiscuous and cavalier in their appropriation of it as evidence for whatever story they intend. But in another sense, it tells us nothing. We have no certain knowledge of the perpetrators and the victims. Of the lives of the old man with the shoe and the young boy with the hat whose last moments we presume to witness, we will never know anything ”

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emailed by Timothy on Tuesday 17 February 2004 @ 1:30 PM

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