Best of British (English Erotica)

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Best of British (English Erotica)

Best of British (English Erotica)

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It’s an act (one of many) most viewers would find repellent, but Strickland chooses to depict it through sound alone, and in doing so, makes the heart of the story—which is about the erotic frisson between restraint, desire, and power—accessible to a wider audience without turning them off. The equally explicit À l’Ecu d’Or ou la Bonne Auberge ( At the Golden Shield, or The Good Inn), thought to be created in 1908 in France, features a maid pleasuring herself with a vacuum cleaner attachment before indulging in a threesome. They’re also exactly what most people often picture when they think “Victorian erotica”: ankles, petticoats, and prudery. So how do filmmakers create genuinely erotic works now, when we’ve seen it all, and almost everything is permissible? In the early 2000s, Hanif Kureishi wrote two British films that paid unusually close attention to the distinction between straightforward physical intimacy and its knottier emotional component.

The swapping of hearts is an adolescent cliché, but the swapping of faces is an exchange of senses and selves, an exchange that simultaneously grazes the surface and plumbs the depth of desire. Harris’s List of Covent-Garden Ladies (1757-95), an annual user’s guide to the courtesans of London, is a fascinating resource for scholars looking into these women, who leave so few records behind, though one wonders quite how they themselves felt about their entries. Yet Maurice—with its full-frontal male nudity, frequent male-on-male kissing, and a rare affirmative ending for its gay protagonist—was an especially audacious film to be released at the height of the AIDS epidemic, and has since been recognized as a key film in the queer cinema canon.Through a male lens, the “sexually liberated woman” often remained as objectified as before; her newfound freedom offering not agency, but sexual availability to be consumed by men, or turned into the butt of the joke by directors who weren’t sure what to do with this new, exotic creature. His film Xcitement(1960) is among the best (and last) of the period, and stars Marks’s lover and business partner Pamela Green, who would go on to a brief but key role in Michael Powell’s controversial film Peeping Tom later that year. While the artistic merits of the film were questionable, its earning clout impressed producers at Elstree Studios (the film capital in Britain at the time), who realized onscreen nudity was their cash cow. While salacious titles of the past used lascivious taglines that overpromised on the sex front, it became obvious by the early 2000s that showing everything was equally disappointing. Only Isha's ex-wife knows the secret that he's kept caged for so long - that he's queer too, and he's lonely.

Now, a year after Dornan and Dakota Johnson hung up their handcuffs following a final outing as Christian and Anastasia Grey in the last of three movie adaptations, James is back.

The prim Jenny Grubb (Imogen Hassall)—who we first meet in her parents’ dark, Victorian house, surrounded by elderly relatives—is drab and shy, dressed in a long dark skirt and gray high-necked blouse. Glazer’s film is not about cheap payoff or mild titillation, but about slowly seducing the viewer into the film’s sensual world, from which they can then explore their own response.

  • Fruugo ID: 258392218-563234582
  • EAN: 764486781913
  • Sold by: Fruugo

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