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Best of British (English Erotica)

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Secondly, to trick them into letting more of the wrestling scene through by using more footage than necessary, allowing for cuts to pass without affecting the quality of the film. While many films point to a nation of buttoned-up prudes and furtive voyeurs, a deeper inspection reveals a colorful mosaic of sexual mores and shifting social values as film became an established part of life. Eight years later, Stephen Frears’s far more mainstream My Beautiful Laundrette (1984) examined class and racism while telling the story of life as an immigrant family in London.

A contractually-tied Mason loathed the films, but this all too evident on-screen disdain only increased his fans’ ardour. Kicking off the movement was Andy Warhol’s Blue Movie (1969), followed by Bill Osco’s Mona (1970)—both of which influenced Deep Throat (1972), which is credited as being the first feature-length porn film with a plot (thin and ridiculous though it is), character development, and relatively high production values. Rather than a dearth of voyeurs and eager perverts, the paucity of stag-film material is more likely due to decay or destruction, with big losses during WWII bombings. In this large bundle of three erotic audiobooks, we give you more hot smut from the nasty, but eloquent pen of noted porn author, Gabriella Vitale.

There are certainly major British filmmakers with unashamedly sensual imaginations, but can we describe the likes of Black Narcissus (1947), If….

With the sexual revolution just around the corner, it was only a matter of time before nudity cropped up on the big screen. Again starring Pamela Green, the film begins with three young women visiting Stonehenge, The Minack Open Air Theatre, Bedruthan Steps and Land’s End, among other British beauty spots, before finding themselves on the nudist section of a Cornish beach.Impossible Gay Lovers uses the Sensual Hypnosis technique of Directed Erotic Visualisation to let you have stunningly erotic gay sex experiences. Action in Slow Motion, probably shot in the early 1940s, features a fully nude woman cavorting in the ocean after its opening title card makes clear it was produced “expressly for assistance to artists and students.

Despite languorous afternoons spent playing cricket and punting along the river, shame and danger hang over the couple’s union as oppressively as storm clouds before a downpour. Modern viewers are unlikely to find anything arousing in the scene, but, as Michael Brooke notes for the BFI, it “undoubtedly pushed the boundaries of what was permissible” at the time, and it was certainly intended to titillate viewers back then.The Pillow Book, one of the director’s more conventionally erotic films, is a tale inspired by the famous book of observations, anecdotes, poems and ideas by 10th/11th-century lady-in-waiting Sei Shōnagon. Exploitation films, which occupied a salacious middle ground between illegal and board-appeasing content, pushed stag and glamour films to the periphery in the system of British (and American) cinema, and eventually out altogether with the arrival of the feature-length porn flick. Making his initial impact as a critic at The Observer, he praised Osborne's Look Back in Anger (1956), and . Named after a rare butterfly, the extraordinary new film by Peter Strickland is also that lesser-spotted creature: a genuinely erotic British film.

They’re fascinating examples of early fiction and give a lot of insight into reading at the time; these books tend not to trade in style and elegance but repeated scenarios and endlessly inventive ways of throwing their heroines into the arms of various partners.There are no direct equivalents of Borowczyk, Brass, Franco or Radley Metzger in British cinema (the hardcore pornographer Ben Dover has different priorities), and serious British films about eroticism remain as rare as the more exotic butterflies on display in Strickland’s film, despite the considerable relaxation in censorship post-2000 – Michael Winterbottom’s 9 Songs (2004) being the British film most notorious for taking full advantage of this. Yet Maurice—with its full-frontal male nudity, frequent male-on-male kissing, and a rare affirmative ending for its gay protagonist—was an especially audacious film to be released at the height of the AIDS epidemic, and has since been recognized as a key film in the queer cinema canon.

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