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gri_2003_m_46_b05_f12_019

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  1. 68968318 - Chris5420
  2. 69159805 - jesseytucker
  3. 70011340 - h_e_day
  4. WINNER - 71209856 - Rainbobrite
  5. 71523512 - the3esses
  6. 71728772 - not-logged-in-186bd4252c746256fd3f
  7. 71750997 - Preacher357

68968318 - Chris5420

Edmund Wilson reviewed a new book by Gilbert Seldes in The New
Yorker (28. x. 1950). Seldes in 1924 published The Seven Lively
Arts: his new book is The Great Audience, an extension of his
earlier study, more sociological, more conscience-striken.
Wilson writes: 'He shows that the contemporary world of the
films is one in which men and women are never allowed to have
sexual relations'. This is a half-truth only. What is left
out of it is that although genital relationships may be rare in
narrative terms, sexual interests are constantly aroused on the
screen. The genital relationship is often implicit
as the motive for action or in the development of a situation which
the camera does not follow through. Full appreciation of movie
sex depends on a knowledge of publicity and of interest in the
stars themselves, of course. Then the sexual undercurrents may
be easily felt - provided you are disposed to its fashionable form.
In a magazine of a type from which many people might hesitate
to quote (Beauty Parade), six Holywood lovelies were quizzed con-
cerning beefcake. To quote the caption written: 'Standard cos-
tume for beefcake is trunks. The whole physique must show '(my
italics). Shelley Winters is quoted: 'Let's have more of it'
Esther Williams is more guarded because her publicity has always
stressed her fit-for-the-family status in the M.G.M. pantheon:
'I like to see it when done in good taste'. The tricky problem
of discriminating tasteful from offensive beefcake must wait on
another occasion. Ava Gardner thinks 'it's sensational' but adds
'Girls like men's minds'. Virginia Mayo is enigmatic: 'beefcake

69159805 - jesseytucker

Edmund Wilson reviewed a new book by Gilbert Selden in the New
Yorker (28. x. 1950). Seldes in 1924 published The Seven Lively
Arts: his new book is The Great Audience, an extension of hi
earlier study,more sociological, more conscience-striken.
Wilson writes: 'He shows that the contemporary world of the
films is one in which men and women are never allowed to have
sexual relations'. This is a half-tuth only. What is left
out of it is that although genital relationships may be rare in
narrative terms, sexual interests are constantly aroused on the
screen. The genital relationship is often implicit
as the motive for action or in the development of a situation which
the camera does not follow through. Full appreciation of movie
sex depends on a knowledge of publicity and an interest in the
stars themselves, of course. Then the sexual undercurrents my
be easily felt--provided you are disposed to its fashionable form.
In a magazine of a type from which many people might hesitate
to quote (Beauty Parade), six Hollywood loviles were quizzed con-
cerning beefcake. To quote the caption writer: 'Standard cos-
time for beefcake is trunks. The whole physique must show' (my
italics). Shelley Winters is quoted: 'Let's have more of it'.
Esther Williams is more guarded because her publicity has always
stressed her fit-for-the-family status in the MGM pantheon:
'I like to see it when done in good taste'. The tricky problem
of discriminating tasteful from offensive beefcake must wait on
another occasion. Ava Gardener thinks 'it's sensational' bu adds
'Girls like men's minds'. Virginia Paye is enigmatic: 'beefcake

70011340 - h_e_day

Edmund Wilson reviewed a new book by Gilbert Seldes in the New Yorker (28. x. 1950). Seldes in 1924 published The Seven Lively Arts: his new book is The Great Audience, an extension of his earlier study, more sociological, more conscience-stricken. Wilson writes: 'He shows that the contemporary world of the films is one in which men and women are never allowed to have sexual relations'. This is a half-truth only. What is left out of it is that although genital relationships may be rare in narrative terms. sexual interests are constantly aroused on the screen. The genital relationship is often implicit as the motive for action or in the development of a situation which the camera does not follow through. Full appreciation of movie sex depends on a knowledge of publicity and interest in the stars themselves, of course. Then the sexual undercurrents may be easily felt - provided you are disposed to its fashionable form.
In a magazine of a type from which many people might hesitate to quote (Beauty Parade), six Hollywood lovelies were quizzed concerning beefcake. To quote the caption writer: 'Standard costume for beefcake is trunks. The whole physique must show' (my italics). Shelley Winters is quoted: 'Let's have more of it'. Esther Williams is more guarded because her publicity has always stressed her fit-for-the-family status in the M.G.M. pantheon: 'I like to see it when done in good taste'. The tricky problem of discriminating tasteful from offensive beefcake must wait on another occasion. Ava Gardner thinks 'it's sensational' but adds, 'Girls like men's minds'. Virginia Mayo is enigmatic: 'beefcake

WINNER - 71209856 - Rainbobrite

Edmund Wilson reviewed a new book by Gilbert Seldes in The New
Yorker (28. x. 1950). Seldes in 1924 published The Seven Lively
Arts: his new book is The Great Audience, an extension of his
earlier study, more sociological, more conscience-striken.
Wilson writes: 'He shows that the contemporary world of the
films is one in which men and women are never allowed to have
sexual relations'. This is a half-truth only. What is left
out of it is that although genital relationships may be rare in
narrative terms, sexual interests are constantly aroused on the
screen. The genital relationship is often implicit
as the motive for action or in the development of a situation which
the camera does not follow through. Full appreciation of movie
sex depends on a knowledge of publicity and an interest in the
stars themselves, of course. Then the sexual undercurrents may
be easily felt - provided you are disposed to its fashionable form.
In a magazine of a type from which many people might hesitate
to quote (Beauty Parade), six Hollywood lovelies were quizzed con-
cerning beekcake. To quote the caption writer: 'Standard cos-
tume for beekcake is trunks. The whole physique must show' (my
italics). Shelley Winters is quoted: 'Let's have more of it'.
Esther Williams is more guarded because her publicity has always
stressed her fit-for-the-family status in the M.G.M. pantheon:
'I like to see it when done in good taste'. The tricky problem
of discriminating tasteful from offensive beekcake must wait on
another occasion. Ava Gardner thinks 'it's sensational' but adds,
'Girls like men's minds'. Virginia Mayo is enigmatic: 'beefcake

71523512 - the3esses

Edmund Wilson reviewed a new book by Gilbert Seldes in the New Yorker (28. x. 1950). Seldes in 1924 published The Seven Lively Arts: his new book is The Great Audience, an extension of his earlier study, more sociological, more conscience-stricken. Wilson writes: 'He shows that the contemporary world of the films is one in which men and women are never allowed to have sexual relations'. This is a half-truth only. What is left out of it is that although genital relationships may be rare in narrative terms, sexual interests are constantly aroused on the screen. The genital relationship is often implicit as the motive for action or in the development of a situation which the camera does not follow through. Full appreciation of movie sex depends on a knowledge of publicity and an interest in the stars themselves, of course. Then the sexual undercurrents may be easily felt - provided you are disposed to its fashionable form.
In a magazine of a type from which many people might hesitate to quote (Beauty Parade), six Hollywood lovlies were quizzed concerning beekcake. To quote the caption writer: 'Standard costume for beekcake is trunks. The whole physique must show' (my italics). Shelley Winters is quoted: 'Let;s have more of it'. Esther Williams is more guarded because her publicity has always stressed her fit-for-the-family status in the M.G.M. panteon: 'I like to see it when done in good taste'. The tricky problem of discriminating tasteful from offensive beekcake must wait on another occasion. Ava Gardner thinks 'it's sensational' but adds 'Girls like men's minds'. Virginia Mayo is enigmatic: 'beefcake

71728772 - not-logged-in-186bd4252c746256fd3f

Edmund Wilson reviwed a new book by Gilbert Seldes In New Yorker (28. x. 1950). Seldes in 1924 published The Seven Lively Arts: his new book is The Great Audience, an extension of his earlier study, more sociological, more conscience-striken. Wilson writes: 'He shows that the contemporary world of the films is one in which men and women are never allowed to have sexual relations'. This is a half-truth only. What is left out of it is that although genital relationships may be rare in narrative terms, sexual interests are constantly aroused on the screen. The genital relationship is often implicitly present as the motive for action or the development of a situation which the camera does not follow through. Full appreciation of movie sex depends on a knowledge of publicity and an interest in the stars themselves, of course. Then the sexual undercurrents may be easily felt -provided you are disposed to its fashicnable form. In a magazine of a type from which many people might hesitate to quote (Beauty Parade), six Hollywood lovlies were quizzed concerning beekcake. To quote the caption writer: 'Standard costume for beekcake is trunks. The whole physique must show' (my italics). Shelley Winters is quoted: 'Let's have more of it'. Esther Williams is more guarded because her publicity has always stressed her fit-for-the-family status in the M.G.M pantheon: 'I like to see it when done in good taste'. The tricky problem of discriminating tasteful from offensive beekcake must wait on another occasion. Ava Gardner thinks 'it's sensational' but adds, 'Girls like men's minds'. Virginia Mayo is enigmatic: 'beefcake

71750997 - Preacher357

Edmund Wilson reviewed a new book by Gilbert Seldes in the New
Yorker (28. x. 1950). Seldes in 1924 published The Seven Lively
Arts: his new book is The Great Audience, an extension of his
earlier study, more sociological, more conscience-striken.
Wilson writes: 'He shows that the contemporary world of the
films is one in which men and women are never allowed to have
sexual relations'. This is a half-truth only. What is left
out of it is that although genital relationships may be rare in
narrative terms, sexual interests are constantly aroused on the
screen. The genital relationship is often implicit
as the motive for action or in the development of a situation which
the camera does not follow through. Full appreciaton of movie
sex depends on a knowledge of publicity and an interest in the
stars themselves, or course. Then the sexual undercurrents may
be easily felt - provided you are disposed to its fashionable form.
In a magazine of a type from which may people might hesitate
to quote (Beauty Parade). six Hollywood lovies were quizzed con-
cerning beefcake. To quote the caption writer: 'Standard cos-
tume for beefcake is trunks. The whole physique must show' (my
italics). Shelly Winters is quoted: 'Let's have more of it'.
Esther Williams is more guarded because of her publicity has always
stressed her fit-for-the-family status in the M.G.M. panthoon:
'I like to see it when done in good taste'. The tricky problem
of discriminating tasteful from offensive beefcake must wait on
another occasion. Ava Gardner thinks 'it's sensational' but adds,
'Girls like men's minds'. Virginia Mayo is enigmatic: 'beefcake

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