Cinema beyond Good and Evil? Nazi Exploitation in the Cinema of the 1970s and its Heritage

Stiglegger, Marcus

doi:10.5040/9781628928228.ch-001

Cited by 3 publications

(2 citation statements)

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“…In a cinematic context, the Nazisploitation genrewith films like Love Camp 7 (Lee Frost 1969) and Ilsa: She-Wolf of the SS (Don Edmonds 1975)aims to titillate and shock by presenting a purposefully spectacular fusion of sex and violence that combines elements of voyeurism, body horror, and pornography (see Rapaport 2003;Koven 2004;Magilow, Vander Lugt, and Bridges 2012). In addition, the Italian 'sadiconazista' (Stiglegger 1999;Stiglegger 2012) films from the 1970sincluding titles like Pier Paolo Pasolini's Salo, or the 120 Days of Sodom (1975) and Liliana Cavani's The Night Porter (1974)rely on sexual perversity, theatricality, and (inverted) relations of sexual domination in order to engage with the memory of fascism. In contrast to the Nazisploitation genre, this group of films has been theorised as more self-reflexive and critical in its use of kitsch and excess (Ravetto 2001;Stiglegger 1999;.…”

Section: Excessive Rape Narratives and Elements Of Spectaclementioning

confidence: 99%

“…In addition, the Italian 'sadiconazista' (Stiglegger 1999;Stiglegger 2012) films from the 1970sincluding titles like Pier Paolo Pasolini's Salo, or the 120 Days of Sodom (1975) and Liliana Cavani's The Night Porter (1974)rely on sexual perversity, theatricality, and (inverted) relations of sexual domination in order to engage with the memory of fascism. In contrast to the Nazisploitation genre, this group of films has been theorised as more self-reflexive and critical in its use of kitsch and excess (Ravetto 2001;Stiglegger 1999;.…”

Section: Excessive Rape Narratives and Elements Of Spectaclementioning

confidence: 99%

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Reading presence and absence in Fax from Sarajevo’s rape narrative

Veld

2018

Journal of Graphic Novels and Comics

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In Joe Kubert's Fax from Sarajevo, the chapter 'The Rape Camp' deals with the mass rape of women by Serb troops during the Bosnian War. Kubert's rape narrative displays a tension between presence and absence that is analysed on different (extra)textual levels. Formally, the two incentives interact when Kubert inscribes the sexual violence on the page but acknowledges its visual limitations by constructing it as an act that can be read from the faces of the people involved and through the use of language. On a narrative level, the chapter's disconnect from the rest of the story marginalises its content and does not explore the longlasting effects of rape, though Kubert briefly refers to genocidal rape at other points in the graphic novel. Furthermore, the tension between presence and absence in Kubert's rape narrative is informed by a cultural backdrop of excessive images of sexual violence. The article argues that this oscillation between inscription and elision in Fax from Sarajevo works productively, as it demonstrates a reflexive awareness of the risks of visualising rape.

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