Alternative Europe: Eurotrash and Exploitation Cinema Since by Ernest Mathijs, Xavier Mendik

By Ernest Mathijs, Xavier Mendik

This moment name within the AlterImage sequence that investigates formerly under-explored components of renowned and cult cinema ( Underground U.S.A. being the 1st quantity) positive factors over 20 essays from an eclectic variety of writers uncovering the cult cinema of Europe. The writers contemplate such strange and numerous subject matters as Russian horror cinema, British exploitation, Belgian replacement cinema and Black 'Emmanuelle' motion pictures. Alternative Europe additionally comprises unique interviews with such 'trash' movie administrators as Jess Fano and Brian Yuzna ( Reanimator, etc.).

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Extra resources for Alternative Europe: Eurotrash and Exploitation Cinema Since 1945 (Alterimage)

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Q. Hunter and colleagues at Northampton and Aberystwyth, the Network runs annual Day Schools at De Montfort University, Leicester, and will organise an international conference on Exploitation in 2007. Another major research project concerned with the study of cult, trash and alternative cinema is the Centre for Research into Extreme and Alternative Media ( C R E A M ) , located in the Department of Theatre, Film and Television Studies at the University of Wales, Aberystwyth. C R E A M functions 17 as a nodal point for the study of cult, trash and alternative cinema, as a site where original research into the area is being undertaken, and as a voice for scholarly intervention in public discourses around alternative media arts.

This satirises feminism, of course, because it is ridiculous that laddish Robin Askwith should be the spokesperson of female emancipation. A n d it is entirely true that as a result Queen Kong might be charged with appropriating and triviliasing the discourse of feminism. W h e n Ray comments, as Queen Kong lays waste another chunk of the capital, that 'I don't know what I'm going to do with her', he, the film and the chortling audience disavow the power and meaning of her actions: she is out of control, the poor dumb animal, and in need of male protection.

E. ' 8 Even this 'historical' description of Use Koch, from a historical encyclopaedia-type book, reduces the complexities of a real person into its most sensational elements in order to convey the extreme behaviours of those who ran the concentration camps. But other characterisations of Use Koch also appear in some of the Italian sexploitation films too. For example, in L'Ultima orgia, Alma, the camp's lascivious second-in-command, proudly shows off a pair of gloves made from a baby's skin, and, more 'historically accurate', a lampshade made of human leather to preserve a beautiful tattoo.

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