Eveready Harton in Buried Treasure
| Movie | |
|---|---|
| Original title | Eveready Harton in Buried Treasure |
| Country of production | United States |
| original language | English |
| Publishing year | around 1928 |
| length | 6 minutes |
| Rod | |
| production | Climax fables |
Eveready Harton in Buried Treasure , also under the titles Eveready Harton , Eveready , Buried Treasure and Pecker Iceland known is about the year 1928 incurred American pornographic animated film with the highest comic undertones.
action
Eveready Harton , the title hero, who is constantly sexually aroused, lies on the beach of a deserted island. At the beginning of the film he fires a shot with a revolver at the flies swarming around his penis , whereupon his genitals become independent and look for cover behind a rock. After returning his best piece to its right place, Eveready Harton studies the area through binoculars. After copulating dogs, snakes and birds, he discovers a naked woman in the distance who is penetrating her vaginally and anally with a dildo . Eveready Harton makes his way to her, first placing his gems on a support wheel and then using it as a third leg.
After Eveready Harton's arrival, the first sexual acts lead to erotic lactation . The desired sexual intercourse only succeeds after Eveready Harton has freed her partner's vagina from an annoying alarm clock and a shoe. However, after just a few seconds, a crab also hidden in it clings to the penis with its claws, whereupon the genitals, pursued by Eveready Harton, take flight. Eventually, the penis can shake off the crab and return to its owner.
Eveready Harton is now looking for a safe place. He discovers an opening in a pile of sand that covers the body of another attractive woman. Eveready Harton immediately starts intercourse, but soon realizes that he is having anal intercourse with a man who is also hidden under the pile of sand. He tries in vain to free himself from the anus and drags the protesting other man with him for a while until the separation succeeds.
A little later, Eveready Harton surprises a man who anally penetrates a donkey . In the dispute over the donkey, the two men engage in a fencing match with their penises, which Eveready Harton wins with a powerful bite into the opponent's weapon. Lured by the apparently equally lustful donkey, Eveready Harton rushes on the animal, but the donkey jumps away and Eveready Harton lands penis first on a cactus .
A final subtitle explains that the discouraged Eveready Harton now wants to give up the search for sexual satisfaction (to blow the whole thing) . But then he discovers a hole in a wooden wall, behind which a cow is lying. Eveready Harton sticks his penis through the hole and is finally satisfied by the licking cow.
Production notes
The authorship and circumstances of the production and early screenings of the film are unclear, but there are reports from contemporary witnesses of varying content.
Max Fleischer's biographer Ray Pointer stated that Fleischer hosted a birthday party for Winsor McCay as the "inventor of the animated film" in the fall of 1927 . Roth's Restaurant in New York City had about 30 guests, including Paul Terry , Dave Fleischer , Pat Sullivan , Otto Messmer , Dick Huemer , Shamus Culhane and Walter Lantz, a number of animators who owed their careers to McCay.
Ward Kimball recalled the circumstances of the production in 1977. He stated that the three studios of Max Fleischer, Paul Terry and Jeff and Mutt were involved in the production. There was no script, but the second and third studios only received the last pictures of their immediate predecessor and continued the story at their own discretion. It was not until the performance during McCay's birthday party that those involved saw the entire film, the performance of which provoked a laugh that "almost blew the roof of the hotel building off".
According to Ray Pointer, Winsor McCay was far from enthusiastic. Pointer brings McCay's critical speech, also passed down from other reports, that animated film is an art and his colleagues made a business out of it, with the performance of Eveready Harton in temporal context.
In his 1997 book on the censorship of animated films, Karl F. Cohen lists a number of guidelines that were formulated in 1927 at the suggestion of Will H. Hays by senior staff at three large film studios. As a preliminary stage to the later Hays Code, this list of Don'ts and Be Carefuls listed eleven topics that should be avoided and 26 topics that should be presented with caution. Permissive and lascivious representations and any representation of sexual perversion were to be avoided . According to Cohen, all animated films published up to that point met the requirements of the list, only Eveready Harton , produced by a group of anonymous cartoonists in 1928, shows that animators are by no means just harmless and innocent artists.
Cohen also questions whether the performance portrayed by Ward Kimball took place during McCay's birthday party. Rumor has it that a laboratory for developing the film could not be found in New York. Only years later could it be completed in Cuba . The first public performance of a copy therefore took place in San Francisco at the end of the 1970s . At the time, the program named Vernon Stallings , George Canata, Rudy Zamora and Walter Lantz, all of whom had worked as animators in New York City half a century earlier.
New releases
Eveready Harton in Buried Treasure was featured in the 1992 compilation Sextoons. Released on VHS at Erotic Animation Festival . The strip is contained in the French compilation film Polissons et Galipettes (in German: Schlingel und Purzelbäum) in full and with a newly composed film music . Polissons et Galipettes was on to the parallel first time in 2002 the 55th International Film Festival of Cannes aligned Directors' Fortnight at Cannes and came the following year in the British cinema. It was also released on DVD, the English title is The Good Old Naughty Days .
reception
In 1997, Karl F. Cohen named Eveready Harton a pornographic cartoon full of unusual ideas. Despite the direct depiction of the sexual intercourse and the crude plot, he is creative, funny and well drawn. It was created so far in the past that most people today find it entertaining.
José B. Capino called Eveready Harton the most famous character in the pornographic animation of the silent film era and emphasized the character's detachment from social conventions. His homosexual and zoosexual acts were actually not allowed, yet they did not lead to ascribing homosexuality or zoophilia to the character. In addition, Capino named Eveready Harton as an example of the mistreatment of the penis, which is endowed with a life of its own, which is common in pornographic animated films, here by a biting crab and cactus spines.
For the feminist media scientist Susanna Paasonen , Eveready Harton is one of those pornographic animated films in which parts of the body, namely genitals, are depicted gigantically overdrawn. She refers to the fact that Harton's penis repeatedly becomes self-employed, hiding behind rocks, acting as a third leg, being attacked by a crab, stuck in a man's anus, and being licked by a cow for the happy ending. The film is full of allusions, physical transformations and exaggerated body parts, while the boundaries between animate and inanimate motifs and between humans and animals are in constant motion. The film scholar Constance Penley also mentions Eveready Harton as one of the pornographic animated films in which a penis “ runs amok ” and experiences painful accidents that are not possible in real films due to physical limits.
Web links
Individual evidence
- ↑ a b Ray Pointer: The Art and Inventions of Max Fleischer. American animation pioneer . McFarland & Company, Jefferson, North Carolina 2017, ISBN 978-1-4766-2741-0 , p. 58.
- ↑ Ward Kimball in Mindrot No. 6, Spring 1977, quoted from Ray Pointer: The Art and Inventions of Max Fleischer .
- ↑ Jon Lewis: Hollywood v. Hard core. How the Struggle over Censorship Saved the Modern Film Industry . New York University Press, New York and London 2002, ISBN 0-8147-5142-3 , pp. 301-302.
- ^ A b c Karl F. Cohen: Forbidden Animation. Censored Cartoons and Blacklisted Animators in America . McFarland & Company, Jefferson, North Carolina and London 2004, ISBN 0-7864-2032-4 , pp. 12-13.
- ↑ a b José B. Capino: Filthy Funnies: Notes on the Body in Animated Pornography . In: Animation Journal 2004, No. 1, pp. 53-71.
- ↑ Susanna Paasonen : The affective and affectless bodies of monster toon porn . In: Paul G. Nixon and Isabel K. Düsterhöft (Eds.): Sex in the Digital Age . Routledge, London and New York 2018, ISBN 978-1-138-21431-6 , pp. 10-24.
- ↑ Constance Penley : Crackers and Whackers: The White Trashing of Porn . In: Linda Williams (Ed.): Porn Studies . Duke University Press, Durham and London 2004, ISBN 0-8223-3300-7 , pp. 309-331.