Violated Frames: Armando Bó and Isabel Sarli's Sexploits

265 Pages·2022·21.79 MB·English

by  Victoria Ruetalo

The publisher and the University of California Press
Foundation gratefully acknowledge the generous support
of the Robert and Meryl Selig Endowment Fund in Film
Studies, established in memory of Robert W. Selig.

Violated Frames
Feminist Media Histories
Shelley Stamp, Series Editor
1. Their Own Best Creations: Women Writers in Postwar Television, by Annie Berke
2. Violated Frames: Armando Bó and Isabel Sarli’s Sexploits, by Victoria Ruétalo
Violated Frames
Armando Bó and Isabel Sarli’s Sexploits
Victoria Ruétalo
Foreword by Annie Sprinkle
University of California Press
University of California Press
Oakland, California
© 2022 by Victoria Ruétalo
Library of Congress Cataloging-i n- Publication Data
Names: Ruétalo, Victoria, 1971– author. | Sprinkle, Annie, 1954–
writer of foreword.
Title: Violated frames : Armando Bó and Isabel Sarli’s sexploits /
Victoria Ruétalo ; foreword by Annie Sprinkle.
Other titles: Feminist media histories (Series) ; 2.
Description: Oakland, California : University of California Press,
[2022] | Series: Feminist media histories ; 2 | Includes index.
Identifiers: LCCN 2021021919 (print) | LCCN 2021021920 (ebook) |
ISBN 9780520380097 (cloth) | ISBN 9780520380080 (paperback) |
ISBN 9780520977105 (epub)
Subjects: LCSH: Bó, Armando, 1915–1981—Criticism and
interpretation. | Sarli, Isabel—Criticism and interpretation. |
Pornographic films—Argentina—20th century. | BISAC:
PERFORMING ARTS / Film / General | PERFORMING ARTS /
Film / Genres / General
Classification: LCC PN1998.3.B62 R84 2022 (print) |
LCC PN1998.3.B62 (ebook) | DDC 791.4302/330922—dc23
LC record available at https:// lccn .loc .gov /2021021919
LC ebook record available at https://l ccn .loc .gov /2021021920
Manufactured in the United States of America
30 29 28 27 26 25 24 23 22
10 9 8 7 6 5 4 3 2 1
For Nicholas, Sofia, and Tony,
my sources of inspiration

Contents
List of Illustrations ix
Note on Translation xi
Foreword by Annie Sprinkle xiii
Acknowledgments xvii
Introduction 1
The Signature of a “Bad Cinema”
Part I: Bodies and Archives
1. Bodies through Time . . . Time through Bodies 27
2. Reading Bad Cinema through “Bad Archives” 58
Part II: Censoring Bodies in Labor and Leisure
3. Disciplining Bodies through Censors’ Shears 83
4. Collective Working-Class Male Bodies 119
5. Affective Intimate Interludes 156
The Risky Female Body