Fractured Eye

Overview

FRACTURED EYE is new large-format annual film journal, edited by well-known authors Stephen Barber and Jack Hunter, who between them have produced around 50 books on global cinema and cultural history.

FRACTURED EYE does not concern itself with either "mainstream? or "cult? cinema, but rather takes its cue from Amos Vogel's seminal 1974 study Film As A Subversive Art.

Subjects covered by FRACTURED EYE Volume One include illegal film pornography...

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Overview

FRACTURED EYE is new large-format annual film journal, edited by well-known authors Stephen Barber and Jack Hunter, who between them have produced around 50 books on global cinema and cultural history.

FRACTURED EYE does not concern itself with either "mainstream” or "cult” cinema, but rather takes its cue from Amos Vogel's seminal 1974 study Film As A Subversive Art.

Subjects covered by FRACTURED EYE Volume One include illegal film pornography in the 1970s, execution film documents of WW2, film documents of extreme performance art, subversive film documentaries, unfilmed surrealist film scenarios, revolutionary Japanese cinema of 1969, the origins of film projection technology, films of urban demolition, surgical films, and various works of renegade, politically prohibited or transgressive cinema. The book is heavily illustrated with unusual and often disquieting photographs, and is recommended for adult readers only.

Subjects covered include Vienna Aktion Cinema, Tokyo 1969, Tatsumi Hijikata, Pierre Guyotat, Koji Wakamatsu, Cosey Fanni Tutti, Skladanowsky Brothers, Georges Franju, and much more.

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Product Details

  • ISBN-13: 9781840681895
  • Publisher: Creation Books
  • Publication date: 1/28/2013
  • Pages: 119
  • Sales rank: 1,402,419
  • Product dimensions: 8.30 (w) x 10.80 (h) x 0.50 (d)

Meet the Author

Stephen Barber is a renowned cultural historian and author of over 20 books, including key studies on Antonin Artaud, Tatsumi Hijikata, and abandoned cinema architecture.

Jack Hunter is author and editor of over 20 previous books on cinema, including EROS IN HELL and MOONCHILD, as well as the popular book on Japanese art, DREAM SPECTRES, and the counterculture classic FREAK BABYLON.

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Read an Excerpt

Lasse Braun inaugurated his cinema of subversion in 1967 with a single aim - to smash censorship by legitimizing visual pornography, and producing it at an unprecedented artistic and commercial level. Ten years, dozens of pornographic loops and magazines, several pornographic features, and millions of dollars later, Braun arrived in London in 1977 to film a new series of short movies. This was underground film-making in a very deliberate sense; producing hardcore pornography was highly illegal in the UK and each day of covert shooting was overshadowed by the spectre of sudden arrest, imprisonment or deportation. But luckily for Lasse, the police were more intent on arresting another group of dangerous subversives, known as The Sex Pistols; while they absurdly wasted their time and tax-payers' money chasing down cruise-boats on the Thames, Braun and his crew carried on unhindered in Notting Hill and Kensington, eventually completing a twelve-loop set comprising the following titles: Country Life, Jealousy, English Schoolgirl, Locked Out, Nazi Games, Satin Party, Tit Friction, Lotus Flower, Uncle Roger, Meter Maid, Call Girls, and Metamorphosis.
Satin Party (serial number L-72) is of particular interest as it features the participation of Cosey Fanni Tutti, a stripper/dancer, porn actress, and performance artist with Coum Transmissions, a group which was at that time morphing into industrial noise pioneers Throbbing Gristle. Cosey's other porno appearances include Sexangle, a loop directed by John Lindsay, and Teenage Sin, part of the 8mm Impact XX Home Movies series. Running at around 24 minutes, Satin Party is among the longest loops in the "London” series, and it was also the last to be shot. To celebrate a month of successful filming, Lasse Braun decided to stage and film an orgy in an opulent Notting Hill Gate townhouse (an echo of Donald Cammell's Performance, made some nine years previously, which also produced pornographic footage shot on-set by Anita Pallenberg). The loop ends with a police raid, a sardonic simulation of the real raid they had all feared, but which never came.
Satin Party commences with an exterior shot of three well-dressed women arriving at the house, after which they join the party which is already underway behind its doors. Braun's first signature shot shows us a man fingering a girl's vagina as she dances, the camera staring up between her legs from floor level. The first full sex scene ...
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