To what Extent is Russ Meyer a Feminist?

Meyer has been seen as an auteur whose gifts consisted of something very apart from his admired creative, attractive, humorous, personal style. He is an original who cr

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eated his own style during a decade of totally managed independent productions. He has a simple, critical, concrete approach to his content, and the ability to make the same scene entirely successful for two different viewers in two different ways. Unlike other directors of our day. In fact, nobody seems to have influenced him directly-his approach to a scene is a physical and analytical manifestation of his personality. (Ebert, 1973)

Meyer's warped upbringing, memories of a World War II combat photographer, obsessions with big breasts, tumultuous relationships and marriages, and 40-year film career testing the boundaries of both Hollywood's mainstream and creative expression. His personal interest and delusions are put within a wider sense of society, which gives the Meter saga a greater dimension. A killer tits and butt winner for all movie and pop culture collections. (Barry, 2005)

Russ Meyer is a man who is fascinated with two stuff in life: WWII and pendulous breasts heaving. He is a filmmaker who helped start the sexual revolution along with his scandalous Immoral Mr. Teas 1959, precipitated a rip with Mondo Topless 1966 and Super Vixens1960 within the moment / area spectrum of the psychedelic 1960s- 1970s, and clenched bohemian and punk ethics with Faster Pussycat, Kill, Kill! 1966 and Beneath the Valley of the Ultra Vixen 1979 (Mcdonough, 2013)

Besides, his scenes of eroticism and violence are the most characteristic distinctive features of his cinema. With those devices, he doesn't mind being obvious and, yes, his cheerful ability to go for an absurd effect is one of the things that makes his films endearing. The cuts to arbitrary replacements for the same action are so literal, so real, so direct, so fundamental that they are reminiscent of a kind of filmmaking not seen in commercial cinema since the 1920s. (Mcdonough, 2013)

However according to (Briggs, 2005) his films tend to be more pornographic rather than artistically erotic, “they are in fact more pornographic than old 42nd Street in all its glory” and his problem is that his attempts to separate his films into successive waves of maturing, imaginative breast flicks remain voyeuristic, with the breasts more than touched. His films were comical and rational but still fetish, and in the end grotesque. (McDonough, J., 2006)

Nevertheless, (Briggs, 2005) also argues that Meyer either would not or could not demonstrate the actual sex act, and he simply seemed to be terrified of the entire lower half of the body. Even when his characters have sex, he keeps cutting off or pacing from such odd angles that he is defusing the sexual tension. Apparently, Meyer wouldn't bring something on film that didn't excite him emotionally, so he would ruin the dream by inserting a vagina (much less a penis) into his canvas.

More in depth according to (Zalcock, 1998; Hatch, 2004) these films feature strong, powerful, outspoken female protagonists who demand rights that mainstream cinema often granted only male characters at the time: these female protagonists routinely claim physical aggression, organise in close-knit, gender-separated gangs or lead mixed gender groups, defy hegemonic and patriarchal family norms, carry weapons, ride fast cars and motorcycles, compete with male rivals (and among themselves), convey unpologetic and autonomous sexuality, and generally enjoy being “evil”.

Finally, to understand the evolution of Meyer as the filmmaker who extended the narrow genre of sexploitation until he transcended it into being "a genre for himself" one should investigate representative films of each time. The creation of the key themes in his work charts the evolution of his cinematic signature style and shows clearly how influential Meyer has been in translating his personal experiences into films and his fetishes with big boobs. (Frasier, 2010)

Therefore, Is Russ Meyer a Feminist? or is he just exploiting the female body in order to satisfy his own fantasies and create films about the male gaze full of voyeurism?

As stated before Russ Meyer is an auteur whose films from 1960’s to 1970’s do all have the same specific genre; “exploitation / sexplotation” (Björnberg, 2013). This genre is all about the conjunctions of physical activity, spectatorship and results, and the inconsistent nature of the mode of address between the unlawful and the permissible. (Gorfinkel, n.d.). One of the most underrated genres in the history of film and to trace it from its origins in stag films until its death in 1970 where Meyers mayor contributed to this genre; Immoral Mr. Teas in 1959 and Mondo Topless 1966 (McDonough, 1986)

Not only that but Russ Meyer also enters the category of Trash cinema, which is known to “attack moral principles and good taste”. (Tiburcio Moreno, 2019) This cinema’s trashiness transforms the aesthetic excessiveness of audiovisual violence into a "alternative archive" of subcultural articulations, fashion and musical trends, and past sexual politics and identities. (Sconce, 1995) Late 1960’s exploitation films usually offered sensationalist take on nascent social, cultural and political movements, ranging from psychedelic hippie cults to the so-called “sexual revolution”. (Schafer,1999; Syder,2002, Gorfinkel, 2011)

Therefore, he enters the category of trash cinema since he creates films like Beyond the Valley of the Dolls 1970 Which is a huge mess of guilty pleasure. Complete of sex, crime, rock and roll, drugs, Nazis, hermaphrodites, Phil Spector lesbians, cripples, a woman giving head to a 45 automatic, cult murders, LSD trips, the scene of decapitation followed by the Fox fanfare, and, somewhere in there, a plot of the all-girl rock group Carrie Nations. (Briggs, 2005) Or LORNA 1964 and MUD HONEY 1965 A melodrama of demented mountains, religious fanatics, grotesque baby dolls, violent forests and filthy grandmothers. (Ebert, 1973)

In other words Russ wrote about all the themes that were prohibited and Taboo during the 60’s and therefore become part of trash cinema.

Hence, it could be discuss he was a feminist since, feminist films, draw on the types of exploitation genres to establish inconsistencies, changes in context that challenge the patriarchal stereotypes about women on which the film about oppression rests (Cook, 1976) and he gives significant female empowerment by seeing women not as passive victims but as violent sexual beings who seek fulfillment of their needs. (Briggs, 2005)

However, exploitation films have present some serious problems against feminism as they were seen as produced solely for the male market. Whether this is true in a clear empirical sense or not, they rely on an excessively coded, fetishized picture of women as sex objects for their financial success: In its quest to smash old patriarchal stereotypes and replace them with modern representations of women as active participants of culture and history, a misconception often strongly resisted by the women's movement. Women's inclusion in their oppression's 'reality,' replacing the cynical, dishonest attempt to rediscover the voice of women lost under the stereotype's solidified surface. (Hofer, 2015)

Besides, inside this genre, there is an angry heroine transforming her aggression towards the male world by male parodying, brutality, sometimes raping, often devouring male victims. As built here, this positive-heroine image is based on the concept of placing the woman in the role of the man.(Hofer, 2015) This can be seen in Russ Meyers films Motorpsycho 1965 which is about three dominant castrating and sadomasochistic bikers (well, moped-ers) raping and killing in the desert of California. (Briggs, 2005; Ebert, 1973)

Thus, this positive-heroine myth depends on the idea of a woman being the subject rather than the desired object, the desire is seen solely in terms of male phantasies and obsessions. (Hofer, 2015) which can be seen in Faster Pussycat, Kill, Kill! 1966 Where the women were seen as sex objects in these roles. (Stringer,1997)

Also, Some of this films follow the Traditional method of punishing or domesticating unruly women by ultimate moral twist. (Zalock,1998) as it happens to Super Vixens 1960

when SuperVixen is an overly sexualized woman who's only desire it to fulfill her sexual need with any men at all times and is punished by being murdered yet her reincarnation SuperAngel is saved during the film due to being a “good girl” that is faithful, passive and sweet.

Furthermore, inside this type of films; female protagonists each have a distinct stereotypical image, in each case followed by a certain film-making style typically associated with that image. (Hofer, 2015) in the case Russ Meyer stereotypical female protagonist are all about big-boob extravaganza with a high level of sexuality. This can be seen in Vixen 1968 were the female leader Erica Gavin was not an actress but in fact a stripper which according to Russ Meyer was cast as she herself represents a number of important ticket buys due to her appearance and way os seducing in front of the camera. (Ebert, 1980)

However, it is not a surprise he uses this stereotypical model for women as his romantic and violent scenes are one of the most distinctive characteristics of this film. As a matter of fact, Meyer does not mind being obvious with these devices, expositing this themes of sadomasochistic women and, indeed, one of the things that makes his films endearing is his cheerful ability to go for an absurd effect. The cult of subjective replacements for the same action is s real, so serious, so fundamental, that since the Twenties they remember a kind of filmmaking not seen in commercial cinema. (Frasier, 2010) Therefore, Russ Meyer the Einstein of sex films could be describe as someone who exploits the female fantasy and not feminist visionary and his films could be more damaging to the female sex rather than aiding for a more liberal society. (Woods, 2004)

As deduction, the pernicious nature and severe unintended implications of these feminist impersonators have been especially successful in addressing various feminist and humanistic concerns, especially issues related to violence and exploitation of women and children. (Hammer,2000) By exposing the audience to this aggressive and violent situations of women wanted to be raped and giving them power in sexual situations, only it gives the wrong message of women empowerment but also sends the message that women can only be dominant in bed and not equal to men in other situations where men are superior than women in society.

More in depth, it could be said Russ Meyer does American Porno chic films as this genre is elicited by sadomasochistic literary tradition, where it explores rarefied sexual tastes.

Though these films may also dwell on extended sadomasochistic torture scenes; such as the scene of the bathroom in Super Vixen 1960 when Super Vixen is murdered after sexually humiliating a man, in their comparatively high production quality, professional acting, literary sources, and intricate psychological narratives exploring the essence of sexual identity, they vary from amateur sadomasochism. (Johnson, 2010)

Beginning with the so-called 'roughies' that started with Lorna in 1964, violence became an integral part of Meyer's films, often equivalent to the sex. From Lorna and Mudhoney 1965 the lynch rule, via the sublime feminine gender terrorism Faster Pussycat's Kill, Kill! 1966, the Beyond the Valley of the Dolls 1970 climate murder orgy, the much-censored Super Vixens 1960 bathtub murder and the ultra-violent UP! 1976. Meyer's best movies are cacography as well as pornography.

Therefore, Russ Meyer enters the category of porn as pornography is characterized as a media with nudity and explicit sexual acts designed to arouse the audience, a media aimed at sexually arousing consumers thought of nudity as a manipulation of explicit sexual behavior. That definition is consistent with both early and later pornography and satisfaction studies. (Hald et al. ,2010; Seto et al., 2001) (Maddox et al., 2011; Muusses et al., 2015; Zillmann & Bryant, 1988) his sexual scenes all contain violent acts and domination during intercourse. Nevertheless he enters more the category of non violent porn (soft porn) rather than violent porn as Non-violent porn is characterized as sexually explicit materials with no overt coercive content, but which may sometimes suggest acts of submission and/or coercion via model placement, using props or show of unequal power relationships. Meanwhile, violent pornography is defined as sexually explicit material in which there is an explicit portrayal of nonconsensual, coercive and/or violent sexual relations. (Senn and Radtke, 1990)

Therefore, Russ Meyer enters the genre of soft- nonviolent porn as nonviolent pornography often portrays women as highly sexually promiscuous. (Hald, Malamuth and Yuen, 2010). We can see this in Super Vixens 1960 in how all the women during the film try to fulfill their sexual desire with the protagonist Clint Ramsey and create this erotic scenes where women try to have nonconsensual sex with him.

This both forms of pornography demonstrated important positive associations with attitudes to condemn women's abuse. (Kingston, Malamuth, Fedoroff and Marshall, 2009) In fact, pornographic violence is usually aimed at women, only rarely at men. (Bridges, Wosnitzer, Scharrer, Sun and Liberman, 2010) Consequently, this genre against the liberal sexuality of women and is all about exploitation of the female body and violence during sex.

Furthermore, sexual harassment in porn can take many forms. Physical and verbal are two of the most studied forms of sexual harassment. (Centers for Disease Control Prevention (CDPC), 2014)Physical sexual harassment refers to the use of or attempt to obtain sex through physical force. This involves 'pinning the arms of the victims, using their weight to prevent movement or escape, using weapons or threats of violence, and assaulting the victim'. While, verbal sexual assault refers to contact that is sexually aggressive but not physically intimidating to gain sex and sexual abuse. Through examples will be worn down by someone who repeatedly asked for sex or demonstrated that they were not happy with sex for this form of violence. (Davis, Parrott, George, Tharp, Hall and Stappenbeck, 2014)

This two types of sexual harassment can be seen in various films of Russ meyer such as; Lorna 1964, a woman that is sexually frustrated with her partner Jim and falls in lust with an escaped convict that rapes her. Super Vixens 1960 where we can clearly see a scene of violent pornography between Super Vixen and Harry Sledge that ends with her getting murdered. And Beyond the Valley of the Ultra Vixen 1979 where are 14 year old is introduced to sex, which nowadays will be categorizes as pedophilia and fetish.

After examining all the genres which Russ Meyer identifies with. the conclusion int that he is not a feminist. Feminism is an series of social movements, political movements, and philosophies aimed at identifying, developing, and achieving gender political, cultural, personal, and social equality. (Thompson, 2001) Therefore, making soft porn movies is sexist as it portrays aggressive masculinity, referring to a set of personality characteristics, mixing the aggressive attitude towards women with the gratification gained by humiliation and power. (Malamuth,1998) in other words this type of genre is used for men arouse and not for women meaning its a sexist genre as women cannot enjoy watching it.

Furthermore, even thought Russ Meyer tries to show women dominant he only gives them power through their sexuality sending the message that women can only obtain what they desire through sex and not through intelligence or other ways. They are only important when they are naked. Also the women that are seen in this films all have the same body type which is big waste and enormous breasts which is something not feminist as not all woman are portrayed and only the ones that are sexually appealing are the ones that can dominate en however they want.

Finally even thought Russ Meyer has made trash cinema which this genre could fit into feminism he only uses women for arouse the spectator which in this case are men and in order to be successful in the film industry. He exploits the body of women to fulfill his fantasies except of trying to send a liberty message stating that men are equal to women. in his world of fantasies women are either submissive and love violence or a superior to men and only use them for sex.

Bibliography

- Mcdonough, J., 2013. Big Bosoms And Square Jaws. New York: Crown Publishing Group.

- Ebert, R., 1973. RUSS MEYER: King of the Nudies. Film Comment, 9(1), p.35.

- Ebert, R., 1980. Russ Meyer: Ten Years After the'Beyond'. Film Comment, 16(4), p.43.

- Briggs, J.B., 2005. Big Bosoms and Square Jaws: Russ Meyer, King of the Sex Film. Cineaste, 31(1), pp.20-26

- McDonough, J., 2006. Big Bosoms and Square Jaws: The Biography of Russ Meyer, King of the Sex Film. Three Rivers Press (CA).

- McDonough, J., 1986. Sexposed. Film Comment, 22(4), p.53

- Barry, X. , 2005 ' McDonough, Jimmy. Big Bosoms and Square Jaws: The Biography of Russ Meyer, King of the Sex Film. Crown. Jul.2005', Library Journal, Arts and Humanities, p-72.

- Zalcock, B., 1998. Renegade Sisters: Girl Gangs on Film (Vol. 11). Creation Books.

- Gorfinkel, E., n.d. Lewd Looks.

- Tiburcio Moreno, E., 2019. Trash Cinema: The Lure of the Low. Historical Journal of Film, Radio and Television, 39(2), pp.425-426.

- Sconce, J., 1995. 'Trashing' the academy: taste, excess, and an emerging politics of cinematic style. Screen, 36(4), pp.371-393.

- Schaefer, E., 1999. " Bold! Daring! Shocking! True!": a history of exploitation films, 1919-1959. Duke University Press.

- Syder, A., 2002. Ripped from Today's Headlines: The Outlaw Biker Movie Cycle. Scope: An On-line Journal of Film Studies. Institute of Film Studies, Nottingham University, United Kingdom.

- Gorfinkel, E., 2011. “Dated Sexuality”: Anna Biller's Viva and the Retrospective Life of Sexploitation Cinema. Camera Obscura: Feminism, Culture, and Media Studies, 26(3 (78)), pp.95-135.

- Björnberg, A., 2013. Earogenous Zones: Sound, Sexuality and Cinema. Edited by Bruce Johnson. London and Oakville: Equinox, 2010. x + 246 pp. ISBN: 978-1-84553-318-2. Popular Music, 32(1), pp.135-137.

- Cook, P., 1976. Film Culture:‘Exploitation’films and feminism. Screen, 17(2), pp.122-127.

- Hofer, K.P., 2015. Exploitation Feminism: Trashiness, Lo-Fidelity and Utopia in She-Devils on Wheels and Blood Orgy of the Leather Girls. Transatlantica. Revue d’études américaines. American Studies Journal, (2).

- Hatch, K., 2004. The Sweeter the Kitten the Sharper the Claws: Russ Meyer’s Bad Girls (pp. 143-155). Albany (NY), State University of New York Press.

- Frasier, D.K., 2010. Russ Meyer--The Life and Films: A Biography and a Comprehensive, Illustrated and Annotated Filmography and Bibliography (Vol. 8). McFarland.

- Stringer, J., 1997. Exposing Intimacy in Russ Meyer's' Motorpsycho!'and'Faster Pussycat! Kill! Kill!'. The road movie book, pp.165-178.

- Hammer, R., 2000. Anti‐Feminists as Media Celebrities. The review of Education/Pedagogy/Cultural Studies, 22(3), pp.207-222.

- Woods, P.A., 2004. The Very Breast of Russ Meyer (No. 4). Plexus Publishing.

- Johnson, B., 2010. Earogenous zones: sound, sexuality and cinema. Equinox.

- Hald, G., Malamuth, N. and Yuen, C., 2010. Pornography and attitudes supporting violence against women: revisiting the relationship in nonexperimental studies. Aggressive Behavior, 36(1), pp.14-20.

- Seto, M. and Lalumière, M., 2010. What is so special about male adolescent sexual offending? A review and test of explanations through meta-analysis. Psychological Bulletin, 136(4), pp.526-575.

- Maddox, A.M., Rhoades, G.K. and Markman, H.J., 2011. Viewing sexually-explicit materials alone or together: Associations with relationship quality. Archives of Sexual Behavior, 40(2), pp.441-448.

- Muusses, L.D., Kerkhof, P. and Finkenauer, C., 2015. Internet pornography and relationship quality: A longitudinal study of within and between partner effects of adjustment, sexual satisfaction and sexually explicit internet material among newly-weds. Computers in Human Behavior, 45, pp.77-84.

- Zillmann, D. and Bryant, J., 1988. Pornography's impact on sexual satisfaction 1. Journal of Applied Social Psychology, 18(5), pp.438-453.

- Senn, C.Y. and Radtke, L., 1990. Women's evaluations of and affective reactions to mainstream violent pornography, nonviolent pornography, and erotica. Violence and Victims, 5(3), p.143.

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- Kingston, D.A., Malamuth, N.M., Fedoroff, P. and Marshall, W.L., 2009. The importance of individual differences in pornography use: Theoretical perspectives and implications for treating sexual offenders. Journal of sex research, 46(2-3), pp.216-232.

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Filmography

- Immoral Mr. Teas in 1959

- Mondo Topless 1966

- Super Vixens 1960

- Faster Pussycat, Kill, Kill! 1966

- Beneath the Valley of the Ultra Vixen 1979

- Motorpsycho 1965

- Beyond the Valley of the Dolls 1970

- Lorna 1964

- Mudhoney 1965

- Vixen 1968

- UP! 1976

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