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Cult Epics: Comprehensive Guide to Cult Cinema - Hardcover

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9780692940945: Cult Epics: Comprehensive Guide to Cult Cinema

Synopsis

Celebrating the 25th anniversary of Cult Epics ― the controversial arthouse, horror and erotica video label ― this commemorative hardcover book covers essential releases from filmmakers such as Tinto Brass, Fernando Arrabal, Radley Metzger, Walerian Borowcyzk, Jean Genet, Abel Ferrara, George Barry, Rene Daalder, Agusti Villaronga, Jorg Buttgereit, Gerald Kargl, Nico B, Irving Klaw, and pinup legend Bettie Page. Includes in-depth reviews of films, interviews, and essays on directors by film critics Nathaniel Thompson, Mark R. Hasan, Michael Den Boer, Ian Jane, Stephen Thrower, Marcus Stiglegger, Heather Drain and others ― fully illustrated in color with rare photos, poster art, and memorabilia.

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About the Author

Nico B, founder of the legendary Amsterdam video store, Cult Videotheek, started Cult Epics in 1991, the first films acquired for Benelux (Netherlands, Belgium) distribution where The Exotic Dances of Bettie Page, Henry: Portrait of a Serial Killer, and Cannibal Holocaust. Moving to the US in 1998, he continued to release arthouse, horror and erotica films in North America, specializing in the work of directors such as Walerian Borowczyk, Tinto Brass, Fernando Arrabal, Radley Metzger, Jorg Buttgereit, and pin up Bettie Page. He also directed the films PIG, Bettie Page Dark Angel, and SIN.

Excerpt. © Reprinted by permission. All rights reserved.

INTRODUCTION BY BETTIE PAGE
For over forty years I've been called the Queen of
Bondage in books, magazines, newspapers, etc. I have never understood why that title has been hung on me, because I certainly never had any desires or feelings in that direction. Also, the only person I ever did bondage posing for was Irving Klaw, and I didn't choose to that for him; I had to do it at least an hour or so at every photographic session ― so did all the other models ― or we wouldn't get paid. I didn't mind being tied up, bound and gagged, even with a ball in my mouth. Only Irving's sister Paula was allowed to do this, so all of us models felt much more at ease with a woman trussing us up. Besides, Paula was very gentle and never pulled the ropes too tight or hurt us in any way. There was only one exception to this. We were shooting out in the woods, and I was tied ― spread eagled ― to two trees, with my arms overhead and my feet a few inches off the ground. After hanging there for what seemed like an eternity, I was in agony and feared my shoulders would be pulled out of their sockets. Would you believe, Irving told me later that these pictures of me tied to those trees were the biggest sellers of all his photos, even including movie star pix!
Most of the bondage that Irving Klaw did was in answer to requests in letters from men all over the United States. Surprisingly (to me anyway) a lot of them came from judges, lawyers, doctors, and businessmen. The strangest thing I was requested to do was to wear a black leather "pony outfit" and get down on all fours on the floor like a horse. I could not understand why anyone would want me to wear a simulated leather headress fashioned like a pony's head that completely covered my face, so that you couldn't even tell who I was!!! Paula and I had a good laugh over that.
Irving received many fetish requests for me to wield a long leather strap and look like I was really whipping someone. Usually I wore long black gloves and six-inch French pumps. Out of about a dozen pairs of such shoes that the Klaws had, there was only one pair I could walk about in, and that's because the heels were considerably wider than the others. Wearing the very thin heels, all I was able to do was stand up for a few minutes; it was always such a relief to get those things off because they
were very uncomfortable, to say the least. -Bettie Page, April 16, 1998

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