Page 147 - Alternative Europe Eurotrash and Exploitation Cinema Since 1945
P. 147

CONCLUSION
           It is  precisely the  confusion  and  instability of institutionalised  containment  of expression  that  allows
           the 'images of a convent'  to be read as simultaneously horrifying and exciting. When the brothel can
           no longer be  the  Foucauldian  space  that  is  'quietly authorised'  and  safely tucked  away from  public
           view,  and when  the  convent can  no  longer be  the guaranteed  and architectural  protector of virginity,
           the  world  of exploitation  fantasy  must  contend  with  the  scenario  in  which  each  institution  starts  to
           spill into  the other. The  result,  and  the  source of the horror,  is  that  the very structures  of civilisation
           that  are  meant  to  protect  'modern  puritanism'  from  the  'other  Victorians'  seem  to  give  way  to  the
           irrational  and  'primitive'  forces  of  the  women  who  are  allowed  to  rule  themselves  without  male
           supervision. With the fantastical  ethnographic  touch borrowed  from  Mondo  films  of the  uncivilised
           within  our civilised world,  nunsploitation  films  display the  nuns  as  the primitive within  our modern
           culture.  They  are  represented  as  caged  tribeswomen  who  follow  their  own  rules,  power  structures,
           and  rituals  that  are  not  always  comprehensible  to  'logical  Western  man'.  Once  the  camera  enters
           the  forbidden  space  of the  cloister,  it  presents  a  freak  show  in  which  the  unruly  girls  behave  like
           primitives,  expose their breasts,  battle over convent hierarchy and partake in  bizarre ritual whippings,
           all under the roof of the Church-sanctioned nunnery.
             Nun exploitation films, by combining their ethnographic camera that unveils the truth of cloistered
           life and their freak-show spectacles on the convent stage,  re-enact the conditions that Mary Russo has
           described with sideshow freaks.  On  one  hand,  the women  are the  'performers of ...  objective  bodily
           "truth",'  a  throwback  to  nineteenth-  and  twentieth-century  medical  discoveries  and  exhibitions,  and

           on the other, they are the caged spectacles in the sideshow whose exotic lives are narrated by a barker.23
           The films shout,  'Masturbating nuns!  Lesbian nuns!  Black magic nuns with knives who bear satanic
           babies and set priests on fire!' It's time to buy your tickets for the Mondo Monaca.






























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