Mysteries of the orgasm

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The film's narrative structure is unconventional, intermixing fictional and documentary elements. After initial screenings, both in and out of Yugoslavia, W. Makavejev was subsequently indicted there on criminal charges of "derision" towards "the state, its agencies, and representatives" after he made intemperate remarks to a West German newspaper about the ban.

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There is a quaintness to the formerly avant-garde. What once shocked and appalled often resembles hair pulling and potty-talk with the passage of time. It is difficult to imagine what might jar the senses in a future tense, and so agitprop art becomes, by necessity, a barometer of the times.

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WR is just as powerful as it ever was; indeed, its very untimeliness in our current cultural-historical context makes it even more disconcerting and destabilizing, perhaps, than it could have been when first released. This process, which is implicit in so many of these films, becomes explicit and polemical in WR. Much has changed, of course, in the years since WR was made.

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This forced the director to emigrate in order to continue his relentless critique of Marxist-Lennism, traditional sexual politics and all anti-liberatory tendencies of the Cold War era. The collage techniques shock the viewer and instigating critique at every level. Datacide C.

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When Dusan Makavejev's WR: Mysteries Of The Organism was presented in at the Academy Cinema in Oxford Street - at that time the premier art house in London - it was only after some wranglings with the censor, who objected to the brief views of an erect penis, albeit one encased in plaster. The Academy was allowed to get away with it, saying that it wouldn't screen the film at all unless it could show it complete. Later, the situation was compounded by the fact that a great many people referred mistakenly to the film as WR: Mysteries Of The Orgasm.

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What does the energy harnessed through orgasm have to do with the state of communist Yugoslavia circa ? One Scene. By Stephanie LaCava.

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A dense film that cuts up footage of a primary plot of two young Yugoslavian girls, one a politico and the other a sexpot, and an affair with a visiting Russian skater. Mixing metaphors of Russia's relationship with Yugoslavia, intercut with footage and interviews with Wilhelm Reich and Al Goldstein of Screw magazine. The film applies Reich's theories of Orgone energy and analogies of Stalinism as a form of Freudian sexual repression.

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He was from Yugoslavia, that late country, and ethnically Serbian, but international to the core. The director of the first Serbian talkie has a line in Makavejev's " Innocence Unprotected " that could apply to Makavejev himself: "Gentlemen, I assure you the entire Yugoslavian cinema came out of my navel. In fact, I have made certain inquiries, and I am in a position to state positively that the entire Bulgarian cinema came out of my navel as well. Makavejev revisits the director, the acrobat, and others who were involved.

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