{"id":2982,"date":"2015-02-18T15:51:33","date_gmt":"2015-02-18T14:51:33","guid":{"rendered":"http:\/\/www.electricsheepmagazine.co.uk\/events\/?p=2982"},"modified":"2015-05-25T22:34:54","modified_gmt":"2015-05-25T21:34:54","slug":"the-battle-of-the-sexes-sado-masochism-in-1960s-70s-cinema","status":"publish","type":"post","link":"http:\/\/www.electricsheepmagazine.co.uk\/events\/2015\/02\/the-battle-of-the-sexes-sado-masochism-in-1960s-70s-cinema\/","title":{"rendered":"The Battle of the Sexes: Sado-masochism in 1960s-70s cinema"},"content":{"rendered":"
\"Femina<\/a>
The Frightened Woman<\/figcaption><\/figure>\n
\n

\nMiskatonic Institute of Horror Studies – London<\/B>

\nInstructor: Virginie Sélavy

\nDate: 12 March 2015

\nTime: 7-10pm

\nVenue: Horse Hospital<\/A>

\nAddress: Colonnade, Bloomsbury, London WC1N 1JD

\nPrices: \u00a310 advance \/ \u00a38 concs<\/A> \/ \u00a311 on the door

\nMiskatonic website<\/A>\n<\/p>\n<\/div>\n

In the 1960s-70s, the relaxation of censorship, together with women\u2019s greater social assertiveness, led to the appearance of a substantial number of art and\/or exploitative films that explored male\/female relationships through sexual power games. A large sub-section, including Mario Bava\u2019s The Whip and the Body<\/I> (1963), Luis Buñuel\u2019s Belle de jour<\/I> (1967), Sergio Martino\u2019s The Strange Vice of Mrs Wardh<\/I> (1971) and Vicente Aranda\u2019s The Blood Spattered Bride<\/I> delve into what are presented as women\u2019s secret repressed desires and internal conflicts. Aside from his numerous Sade adaptations, Jess Franco also dreamily explored female characters who are both victims and tormentors in Venus in Furs<\/I> (1969) and Succubus<\/I> (1968). Henri-Georges Clouzot\u2019s Woman in Chains<\/I> (1968) and Alain Robbe-Grillet\u2019s Eden and After <\/I>(1970) create hyper-aesthetic worlds of kinky abstract obsession while in Kôji Wakamatsu\u2019s The Embryo Hunts in Secret<\/I> (1966) and Pete Walker\u2019s House of Whipcord<\/I> (1974), the violence of amorous relationships takes on social and political connotations. Artist Niki de Saint Phalle made two unusual and fascinating contributions to this theme: not only did she co-direct her own semi-autobiographic perverse family fantasy, Daddy<\/I> with Peter Whitehead (1973), but her art also appears in the fascinating Femina Ridens<\/I> (Piero Schivazappa, 1968), which toys with expectations about dominant and submissive roles. The lecture will examine all these and more ramifications of the period\u2019s unfettered sado-masochistic fantasies. <\/p>\n