Elena Gorfinkel’s Lewd Looks: American Sexploitation Cinema in the 1960s is a meticulously researched analysis of a muchmaligned film genre: sexploitation. History has not been kind to sexploitation: in hindsight, it is tainted by a coyness that makes it seem as if 1960s audiences were so unsophisticated that a brief flash of nipple was enough to drive them wild. Sympathetic and enthusiastic for her subject, Gorfinkel traces how American sexploitation coalesced as a genre through the decade’s debates over obscenity and the increasing visibility of sex in the public sphere. She argues that the films themselves were far more knowing, ironic, and reflexive than they may at first appear. These cheaply produced independent films are, in many senses, labors of love, and the titles that are still accessible in one format or another today survive as the fruits of someone’s deepseated desire. Sexploitation occupies a distinctive position, then, as a genre full of contradictions that was once “hot” but quickly became obsolete, and now lacks a formal archive. However, as Gorfinkel points out, “Even within their own moment, sexploitation films were being conceived of as of their time and simultaneously out of step with it” (252). Her book seeks to demystify the genre while paying heed to its decidedly queer temporality. Sexploitation engages in a drama of concealing and revealing. Gorfinkel articulates how its status as a transitional genre that tested the boundaries of permissibility, and ultimately paved the way for the greater “authenticity” of hardcore pornography in the early 1970s, has overdetermined its historicization. By

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埃琳娜·戈芬克尔 (Elena Gorfinkel) 的《淫荡外貌：1960 年代的美国性剥削电影》是对备受诟病的电影类型：性剥削的细致研究分析。历史对性剥削并不友善：事后看来，它被一种腼腆所玷污，使 1960 年代的观众看起来似乎是如此的纯朴，一闪而过的乳头就足以让他们疯狂。Gorfinkel 对她的主题充满同情和热情，通过十年来关于淫秽的辩论和性在公共领域的知名度不断提高，追溯了美国性剥削如何融合为一种流派。她争辩说，这些电影本身比它们乍一看时更了解、更讽刺、更具有反思性。这些廉价制作的独立电影在很多意义上都是爱的劳动，今天仍然可以以一种或另一种格式访问的标题作为某人根深蒂固的愿望的果实而幸存下来。性剥削占据了独特的地位，作为一种充满矛盾的流派，曾经“火爆”但很快就过时了，现在缺乏正式的档案。然而，正如 Gorfinkel 指出的那样，“即使在他们自己的时刻，性剥削电影也在他们的时代被构思出来，同时与它不同步”（252）。她的书试图揭开这一流派的神秘面纱，同时注意其绝对奇怪的时间性。性剥削参与了一场隐藏和揭露的戏剧。Gorfinkel 阐述了它作为一种过渡类型的地位，它测试了许可的界限，并最终为 1970 年代初期铁杆色情的更大“真实性”铺平了道路，过度决定了它的历史化。经过