Your Grandpa’s Porn

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Since we’re kind of having a porn week on HU (Michael Arthur’s article on yaoi here, my article on Jenna Jameson here, I thought I’d end up with this review I first published on Splice Today.
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When I ordered the DVD American Nudie Classics, I had somehow thought it would be a documentary about classic (if that’s the word I want) pornography from the early days of American cinema. Or, failing that, I figured it would include a handful of porn reels along with some sort of contextual information. After all, I figured, anyone buying this is doing so out of historical interest, right?

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Jenna Does Jenna

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I wrote this for the Bridge Magazine website; when that folded I put it up on Eaten By Ducks. I suspect most people over here haven’t seen it though, and I’m fond of it, so I thought I’d reprint it.
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When asked by porn review site rogreviews.com if she was nervous during her first filmed sex scene, porn star Belladonna responded, “I hadn’t had sex for a couple of months so I was really horny. I wasn’t nervous at all.” And if you believe that, I’ve got an aphrodisiac to sell you. Belladonna’s been asked the same question in other forums, and her answer seems to vary widely, depending on what she thinks the interviewer wants to hear. That’s just good business; a sex-worker is paid first and foremost to bare her body, but she’s paid even more to bare a certain kind of inner life — what kind exactly varying from customer to customer. Or, as Jenna Jameson puts it in discussing her work as a stripper, “Everything that came out of my mouth was complete bullshit. I could tell by looking at each person what he wanted to hear. I’d tell him I was studying to be a real-estate agent, a lifeguard, a construction worker.”

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“Then Protest!”

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by James Romberger

François Truffaut’s films are most often analyzed in terms of their cinematic structure and the interpersonal relationships of their stories, and these qualities do account for a good part of their appeal. His films are not considered particularly political in the context of his contemporaries of the French New Wave. However, Truffaut does critique the forces that shaped his world: the destructive nationalism and militarism that crush people and culture in their wake, and the patriarchal structures that keep women the longest-suffering victims of oppression on the planet. Since women do not share equal rights with men, gender relations are political. Truffaut made some sincere efforts to explore those dynamics.

Truffaut’s 1962 film Jules and Jim bears reexamination in this light. In his adaptation of Henri-Pierre Roché’s semi-autobiographical novel Jules et Jim, the director compresses the whole to fit within the confines of a movie that is an hour and three quarters long. Truffaut chooses passages from the book and recombines them to create new meanings unique to his production. He alters the real people and events that inspired the original text, to construct a new narrative about female autonomy and fidelity in love, and affords key correspondences between the early pivotal scene on the bridge and the ending. Truffaut also extends beyond the WWI scenes of the book to incorporate his more personal references in the form of veiled and overt references to WWII: he “post-actively” incorporates his memories of his childhood in occupied Paris and his perception of the deep repercussions in France from the collaboration of some of the country’s citizens with fascism.

The credit sequence immediately foreshadows Truffaut’s intent. It recontextualizes an incidental dart game played in the book to become a metaphor of sexualized violence: a competition to penetrate a target. The title characters of Jules and Jim are young artists of bohemian Paris before World War I, who compete for the love of their lives. They and their relationships mirror Roché’s own experience. Jim is meant to represent Roché, an extremely influential high cultural connector who, among other networking flourishes, introduced Picasso to Gertrude Stein. But Roché’s acute sophistication and legendary promiscuity are not so present in Jim, in the film portrayed as a man without the courage of his convictions and underplayed by the tall, hesitant Henri Serre.
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Art, Politics, and Wisconsin

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The editorial cartoon above by Phil Hands has sparked some interesting debate. Hands published the cartoon along with an editorial in which he noted that he’s usually liberal, but in the case of the current Wisconsin budget crisis found himself siding with the Republican governor against employee unions. Tom Spurgeon read the editorial and complimented Hands for his courage in stating his beliefs.

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War, what is it good for?

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Blazing Combat
Editor and Writer: Archie Goodwin
Original Publisher: Warren Publishing (1965-66)
Re-published by Fantagraphics Books

Blazing Combat was a war anthology edited and written by Archie Goodwin in collaboration with a dozen artists. It was also a commercial flop back in the sixties, getting canceled after only four issues. According to its publisher, James Warren, the tepid sales were due to politics. The book earned the ire of comic distributors (many of whom were veterans) for its perceived anti-war bias and they refused to sell it. It was outright banned from stores on military bases, meaning that active servicemen (who made up a sizable share of the market for war comics) could not buy it.

But authoritarian politics and government censorship are no match for comic book nostalgia. Decades later, Blazing Combat was resurrected by Fantagraphics, and it’s not hard to see why. Forget the stories or the politics; the list of artists who worked on this title is an aging fanboy’s wet dream. Frank Frazetta (on covers), Wally Wood, John Severin, Alex Toth, Gene Colan. And these artists brought their “A” game. As mainstream comic art goes, few books look as good as Blazing Combat.

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