Sunday, May 29, 2016

LAZY HAZY CRAZY (2015): Hong Kong Teen Prostitutes and Lipstick Lesbians

I good source for films that contain the theme of hebephilia\ephebophilia are film festivals. I follow the Twitter accounts of the Film Society,  Film Comment and MoMA  for news about independent films and festivals. The Film Society recently did a post about the upcoming New York Asian Film Festival. 

The Film Society of Lincoln Center's website posted "a list of 15 key titles that shape the themes" of the 15th anniversary edition of the festival. Lazy Hazy Crazy (2015) [Cantonese: 同班同學] "in which schoolgirls explore the city’s heart of greed by charging for sex" is one of the films listed. 

Elizabeth Kerr of The Hollywood Reporter wrote that "Lazy revels in its bubble baths and experimental lesbianism, yet ties the characters’ growth to how they relate to men [...], [t]he drama, which also dabbles in a smattering of semi-explicit situations [is] designed to give the film a raw, shocking edge [...] [but] [t]he film is also smart and somewhat blunt [...]"

In additional to graphic teen prostitution and ephobophilia, like Kerr mentioned, there were at least two lipstick lesbian scenes. In one scene, Chloe slyly told Alice that her tampon was lost. To the utter pleasure of Chloe, Alice deeply and thoroughly searched Chloe's treasure, until Tracy discovered the tampon in the bathroom.

Chloe shared that she was initiated into prostitution at the age of fourteen after her friend's approximately fifty-year-old father leered at her and insisted on driving her home before he gave her 5,000 Yuan for sex.

Lazy Hazy Crazy, which was interestingly written by a female, Yee-sum Luk, was nominated for the Asian Future Best Film Award at the 2015 Tokyo International Film Festival and nominated for Best Film at the 2015 Stockholm Film Festival.

Friday, May 20, 2016

TAN Digest: Pre-Teen Seducers, a 15-Year-Old European Prostitute and NYC Teen Prostitutes Provided by The Catholic Church

I got up to page 153 of Orenstein's Cinderella Ate My Daughter that I (momentarily) abandoned for Boyd's Nabokov's Ada which I  (momentarily) abandoned for Nabokov's Ada. 

In the chapter "Sparkle, Sweetie!"  that was about preteen beauty pageants, Orenstein wrote that the prepubescent beauty contestants reminded her of 18th century European museum portraits of "[...] European princesses - little girls in low-cut gowns, their hair piled high, their cheeks and lips roughed red - that were used to attract potential husbands, typically middle-aged men [...]" And she overheard an overeager mother advise her six-year-old, "[O]ne of the judges is a man, so be sure you wink at him!"

I received a tweet from The Paris Review that linked to an article about John Cleland’s "[...] two-volume novel called Memoirs of a Woman of Pleasure, or Fanny Hill, published when he was in debtor’s prison between 1748 and 1749 [...]" I've had the novel in my Amazon Wishlist for some time. But I didn't know that Fanny entered the brothel when she was fifteen, which preceded her "sexual initiation" that involved lipstick lesbian sex with a seasoned prostitute. And her first customer was a "[...] debauched elderly caller “with a yellow cadaverous hue”."

Episodes seventeen and eighteen of this season's Law & Order SVU  were about a teen prostitution ring that was organized by the Catholic Church that provided nymphets to New York City elected officials. I posted a question on Ask MetaFilter about any possible origins of the topic, but I was promptly banned. The only other instance of the Catholic church and nymphets that I'm familiar with is a post that I wrote titled "15-Year-Old Nymphet Kidnapped for Vatican Sex Parties?"

Sunday, May 8, 2016


The Guardian's Sophia Martelli said of Frank Wedekind's Mine-Haha, or On the Bodily Education of Young Girls "This slim volume is fresh, perverse and disconcerting."

Here's part of Amazon's plot summary

[...] Mine-Haha describes a unique boarding institution for girls—part idyllic refuge, part prison—where pupils are trained only in the physical arts of movement, dance, and music, before issuing them into an adult world for which they have (unwittingly) been prepared.

It states in the novella's introduction that Wedekind recorded in his diary that when he visited London's Middlesex Music Hall in 1894 he saw "a dancing girl, no more than a child" appear "in a 'brief white princess frock, with bare legs, short white socks and little shoes gilded morocco leather', revealing her 'white lace knickers up to the waist'." And that "[w]hen she came off stage there was a 'bawling, screeching and whistling as in a zoo when meat appears in front of the cages'."

In the novella's text, the nymphets habitually practice walking on their hands for their theater performances of the lustful and brutal The Gnat Prince, which "[..] is an erotic fantasy, since, provided the girls are in dresses or skirts [...] it promises the viewer, or voyeur, a sight of the forbidden as gravity takes its course"

Hidalla, the novella's narrator, played one of five peasants in the play. The peasant's customs, which were put on after the girls undressed, "were very simple, short skirt, blue or red,which stretched from the waist to the knee." When the peasants weren't walking around the stage on their hands, while their pigtails dragged as the audience leered at their budding bottom-grass and hillocks, Hidalla narrated, "During the second act we peasants had nothing to do but lie on the steps and display our naked upper bodies and calves." 

In terms of the brutality in The Gnat Prince, the youngest girl had to receive "good beating". One could hear the full house's "cheering anticipation" as the scene began. After the lashing, the nymphet was "crowned queen and carried around in the most precious raiments on a golden throne."

Lastly, the girls, who ranged in ages from seven to thirteen, were forced to suppress their lesbian urges, which is why their housekeepers were banned from leaving the walled residence. "When she was here as a child, she went to another girl. That's why she's still here." 

Mine-Haha isn't Wedekind's only play. His first major play was Spring Awakening [German: Frühlings Erwachen]. Sherwin Simmons wrote in  '"A suggestiveness that can make one crazy": Ernst Ledwig Kirchner's Images of Marzella'  that Spring Awakening is "a story of how repressed adolescent sexuality in a small town leads to tortured experiences and tragedy." I know what you're thinking. And yes, the successful Broadway musical is based in Wedenkind's 1891 play. (More on the play and the musical in a subsequent post.)

John Irvin's The Fine Art of Love (2005) was inspired by Mine-Haha and Lucile Hadzihalilovic's Innocence (2004) is based on the novella, but I would watch them, if at all, only after reading the book.However, The Fine Art of Love (2005) warrants it's own review based on it's strong teen lipstick lesbian theme. 

Unsurprisingly, Wedekind was an acting ephebophile. According to his Diary of an Erotic Life, Wedenkind used to "pick up" Parisian women "usually cocottes" but "occasionally juveniles, to whom he was strongly attracted." And in 1906, he married Tilly Newes, an Austrian actress, who was twenty-two years his junior.