By Ernest Mathijs, Xavier Mendik
This moment identify within the AlterImage sequence that investigates formerly under-explored components of well known and cult cinema ( Underground U.S.A. being the 1st quantity) positive factors over 20 essays from an eclectic diversity of writers uncovering the cult cinema of Europe. The writers contemplate such strange and various themes as Russian horror cinema, British exploitation, Belgian substitute cinema and Black 'Emmanuelle' movies. Alternative Europe additionally contains particular interviews with such 'trash' movie administrators as Jess Fano and Brian Yuzna ( Reanimator, etc.).
thanks to psyko at CG
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Additional resources for Alternative Europe: Eurotrash and Exploitation Cinema Since 1945 (Alterimage)
Medical students performed experimental surgery on a female hospital block, which offered the opportunity to practice whatever procedure suited their particular interests. ) W i t h no ethical considerations at issue, a more opportunistic surgical laboratory than Auschwitz could hardly be imagined. Beyond 29 convenience, a doctor could rationalise his experimentation with the thought that since his patient was ultimately condemned to death in any case, he could truly do no harm. 18 Furthermore, 'with the help of an advanced medical student, relatively healthy Jewish inmates had toxic substances, some petroleum-based, rubbed into their arms and legs.
Of course, in reality, Rassenschande would break down, but it did so in idiosyncratic ways - singular one-off events. The exception that proves the rule of Rassenschande is noted by Karay: Dozens of testimonies mention the Werkschultz commander Fritz Bartenschlager, who would sometimes attend selections in order to choose 'escort girls'. In October 1942, for example, five of these women were taken to a feast at his apartment, where they were ordered to serve guests in the nude and were ultimately raped by the revellers.
13 Parties, like those of Bartenschlager, are a standard trope in all of these films, for obvious voyeuristic reasons, and are literally realised in Ilsa. However, it is intriguing to note that sometimes these film sequences involve diegetic willing participants (L'Ultima orgia del III Reich), while other films feature sequences where the women are raped and/or murdered (Lager SSadis Kastrat Kommandantur, Ilsa, She Wolf of the SS). Jews are conspicuously absent from these Nazi sexploitation films as signifiers, with one notable exception.