In the history of cinema, love, eroticism, and pornography continuously intertwine: from silent films to today, romance, vice, and transgression go hand in hand despite censorship, hypocrisy, and prudishness.
For Alessandro Bertolotti, eroticism does not exist as a cinematic genre, but in every film, we can find erotic moments: in every scene where two people meet, in their gestures, glances, and words. But what makes a film erotic? Beauty can be an erotic engine; every actress is beautiful at the moment of intimacy, but relying solely on an aesthetic approach, for example through refined and sophisticated cinematography, is not enough. It requires a plot, a direction.
Louise Brooks and Marlene Dietrich are celebrated stars because they were guided by the talents of Pabst and Sternberg; Brigitte Maier and Constance Money stood out from the crowd of porn actresses thanks to the imagination of Lasse Braun and Radley Metzger. The best directors create a plot, or at least an atmosphere, delaying as much as possible the long-awaited event: the sexual act.
It is the construction of a story that creates the necessary conditions for one of the main erotic triggers: the breaking of taboos. There is no eroticism without transgression or a twist. Passion, Marriages and Affairs, First Loves, Orgies, Sex and Violence: five thematic chapters help the reader discover the most important films in the history of erotic and pornographic cinema, ranging from love dramas, comedies and risqué parodies, underground films, horror and thrillers, sadomasochism and LGBTQ+ themes, to the uniquely original Japanese masterpieces.
Κατασκευαστής
- Εκδότης
- Odoya
- Γλώσσα
- Ιταλικά
- Υπότιτλος
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- Εξώφυλλο
- Μαλακό
- Αριθμός σελίδων
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- Ημερομηνία Κυκλοφορίας
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- Έτος έκδοσης
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- Διαστάσεις
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- Βραβείο
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- Κοινό
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- Εικονογραφημένα
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- ISBN-13
- 9788862883337
Σημαντική πληροφορία
Τα δεδομένα αυτά συλλέγονται από τις επίσημες σελίδες των προϊόντων. Επιβεβαίωσε τα στοιχεία πριν προχωρήσεις στην τελική αγορά. Εάν παρατηρήσεις κάποιο πρόβλημα μπορείς να το αναφέρεις εδώ.