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Lewd LooksAmerican Sexploitation Cinema in the 1960s$
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Elena Gorfinkel

Print publication date: 2017

Print ISBN-13: 9781517900175

Published to Minnesota Scholarship Online: May 2018

DOI: 10.5749/minnesota/9781517900175.001.0001

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PRINTED FROM MINNESOTA SCHOLARSHIP ONLINE (www.minnesota.universitypressscholarship.com). (c) Copyright University of Minnesota Press, 2022. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in MNSO for personal use.date: 03 July 2022



“Coy Leericism”

(p.1) Introduction
Lewd Looks

Elena Gorfinkel

University of Minnesota Press

New York City, mid-1960s, black-and-white 35mm film stock and a familiar sexploitation scenario: young Candy leaves her small town. We see her departing on the train. She is fleeing the fate of her mother, a prostitute who has committed suicide. She opines in voice-over about a new life in New York City, which holds the promise of another identity and respite from the shame bestowed by maternal disgrace. Candy (Barbara Morris), with dark hair and cropped bangs, evokes a low-budget Anna Karina circa Jean-Luc Godard’s early 1960s films. She moves in with an old girlfriend, her enchantment by the city’s roiling creative energies and architectural marvels rendered through street scenes, vertiginous views of skyscrapers, female flânerie. Introduced to the world of the single urban working girl by the women whom she befriends, Candy resorts to nude modeling and escorting. After two failed romances, with a philandering nude photographer and a sculptor more piqued by his art than by Candy, she returns to her party girl life while secretly edging toward despair....

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