Erotic Story Archive

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Erotica collection, 1940-1969

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Erotica collection, 1940-1969

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, depicting transgressive sex acts including (but not limited to) lesbian and heterosexual sex, incest including (but not limited to) lesbian and heterosexual sex, incest , pedophilia, sadomassochistic behavior

Erotica collection, 1940-1969 ✖ [remove] 1

David M. Rubenstein Rare Book & Manuscript Library 1

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This collection contains an archive of original illustrations, four sketchbooks, and erotic stories, depicting transgressive sex acts including (but not limited to) lesbian and heterosexual sex, incest, pedophilia, sadomassochistic behavior, and copulation with objects as varied as sex toys, produce, and household appliances. The stories and illustrations appear to be the work of a single individual, with nearly all narrative told from a female's point of view. Also includes some amateur pornographic photography and magazine clippings.
The stories included in the collection range in length from one page to 46 pages. Two of the four sketchbooks include drafts of multiple storylines. Most stories are handwritten in the style of a graphic novel; some are typed. All include accompanying hand-drawn illustrations. There are also loose, miscellaneous illustrations in the collection with no correlating story. The collection's photographs and magazine clippings appear to have been used as models for some of the sketches and artwork. The photographs include at least one image of a hermaphroditic woman who appears in some of the accompanying stories.

Current results range from 1940 to 1969

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tip: katekyou "alternate universe" sort:>words

In a world where sex with your mother is legal, follow the day to day lives of some of the lucky children who get to have sex with the most beautiful person in the world, their mother.

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In Surprised by the Guard, from 1930, a woman doing laundry outside gets interrupted by a soldier with more than clean clothes on his mind.
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Some are far less chaste than you might expect from porn of yore, and definitely not safe for work.
Leslie Katz leads a team that explores the intersection of tech and culture, plus all manner of awe-inspiring science, from space to AI and archaeology. When she's not smithing words, she's probably playing online word games, tending to her garden or referring to herself in the third person.
If your idea of good porn involves a randy dandy macking on matrons of the local haberdashery, loosen your bow ties and unfasten your corsets. Things are about to get steamy in the drawing room.
For its new Remastered project (warning: link leads to NSFW images), adult streaming-video website Pornhub has, with the help of AI, restored and colorized a series of vintage erotic films, some going back more than 100 years, and posted them online.
"These films show us that human sexuality was alive and well in the early 1900s," Pornhub says.
It's a fascinating romp through erotic history that's by turns charming, funny, artful and eye-opening.
The collection of 20 films spans the late 19th century to the 1940s. Some of the earlier offerings are pretty chaste. For example, in The Undressing, from 1896, a Victorian woman dares to show her naked feet. In The Hairdresser, from 1905, a woman styles her tresses, topless, looking like a classical painting come to life.
But later films are far less restrained than one might expect of ye olde sexy times -- and definitely not safe for (most) work. As early as the 1920s, the films show voyeurism, bondage, spanking and cosplay. There are sex toys, same-sex interludes, threesomes, foursomes and more-somes.
Long before the sexual revolution, it turns out, porn stars in petticoats engaged in a lot of the familiar erotic endeavors you'd see in adult films film today. "People don't often consider the prevalence of erotic films back then, but they were quite the commodity," Pornhub says.
In flagrante delicto, in the last century.
Still, the footage is unmistakably vintage, with jumpy cuts and very little narrative structure. These short films, mostly from France, get straight to business.
In The Horny Haberdashery, from 1921, a male customer is hardly in the door before he drops his neatly pressed trousers to join two female workers engaged in maneuvers that would greatly concern today's HR.
In Surprised by the Guard, from 1930, a French farm girl is doing laundry outside when a soldier suddenly saunters up through the trees. It's immediately clear he's interested in more than having his coat cleaned. So is the next soldier who shows up to, well, enlist.
Adult movies date back to the beginning of motion pictures, when porn films were mostly anonymously produced and known as "stags." The earliest surviving porn movie is believed to be 1896 French film Le Coucher de la Mariée . It stars Louise Willy doing a tame striptease for her new husband as he slyly peeks and giggles from behind a dressing divider. Pornhub includes that early film in its Remastered series, renaming it Bedtime for the Bride.
Almost all stag productions were silent and black and white, even as the film industry adopted sound and color.
"This stylistic device contributed to the films' explicit allure," explains New York's Museum of Sex , "suggesting the reality of the sex acts being performed, as well as the underground and illicit nature of the pornographic film industry itself."
Since standard deep-learning models are trained using safe-for-work images, PornHub turned its AI on its library of 100,000 adult videos and images for a lesson in detecting body parts that take top billing in erotic films. Once the AI had colorized the black-and-white films, the team increased image stabilization, reduced flicker and increased the speed of the film to 60 frames per second. They added audio tracks, like player piano music typical of silent movies, that crescendo in all the right places.
"We thought it was important to not only preserve but modernize these films," Pornhub said. The relics will likely be a turn-on to porn and history buffs alike.
In 1896 French film Le Coucher de la Mariée, which Pornhub renamed Bedtime for the Bride, the groom gets a striptease on his wedding night.

My Beautiful Laundrette (Stephen Frears, 1985)
Carry On Camping (Gerald Thomas, 1969)
Intimacy (Patrice Chéreau, 2001)
Black Narcissus (Michael Powell and Emeric Pressburger, 1947)
Deep End (Jerzy Skolimowski, 1970)
9 Songs (Michael Winterbottom, 2004)
Confessions of a Window Cleaner (Val Guest, 1974)
Sunday Bloody Sunday (John Schlesinger, 1971)
The Draughtsman’s Contract (Peter Greenaway, 1982)
Red Road (Andrea Arnold, 2006)

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Named after a rare butterfly, the extraordinary new film by Peter Strickland is also that lesser-spotted creature: a genuinely erotic British film. We survey 10 more titillating titles from these shores.
When Peter Strickland was asked about his influences on The Duke of Burgundy , he unsurprisingly trotted out a parade of what used to be called “continental” filmmakers: Walerian Borowczyk, Tinto Brass, Luis Buñuel, Claude Chabrol, Rainer Werner Fassbinder and Jesús Franco. Anything from Britain? Yes, the 1980s sitcom Terry and June, although decidedly not for its (nonexistent) erotic content.
François Truffaut notoriously suggested to Alfred Hitchcock that there is a certain incompatibility between the terms ‘British’ and ‘cinema’. This was obvious nonsense, but if you add the word ‘erotic’ to ‘cinema’ you create a proposition that’s harder to deny. Despite two of the stronger commercial genres in British cinema history being the 1950s naturist ‘documentary’ and the 1970s softcore sex comedy, it says much about the cultural repression of the time that anyone ever found them especially erotic.
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There are certainly major British filmmakers with unashamedly sensual imaginations, but can we describe the likes of Black Narcissus (1947), If…. (1968) and “Don’t Look Now” (1973) as ‘erotic films’ in themselves? And although they’re more overtly erotic, can we call the likes of Deep End (1970), Bitter Moon (1992), Breaking the Waves (1996) and Intimacy (2001) ‘British’ given complex co-production funding, multinational casts and directors hailing from Poland, France and Denmark?
Should we define an ‘erotic film’ purely in terms of sexual explicitness, or something subtler and more sensual? Or indeed by the effect that it had on its audience? After all, it’s arguable that the appeal of 1940s Gainsborough melodramas was far more genuinely erotic than that of the inexplicably long-running Come Play with Me (1977) and its fusion of ancient music-hall routines with only very mildly titillating nudity.
There are no direct equivalents of Borowczyk, Brass, Franco or Radley Metzger in British cinema (the hardcore pornographer Ben Dover has different priorities), and serious British films about eroticism remain as rare as the more exotic butterflies on display in Strickland’s film, despite the considerable relaxation in censorship post-2000 – Michael Winterbottom ’s 9 Songs (2004) being the British film most notorious for taking full advantage of this. So the following 10 films are at least as much illustrations of social and historical trends as they are defining examples of cinematic eroticism in their own right. It’s safe to say that a French, Italian or Spanish list would be very different!
Lasting only a minute or so, this late Victorian film was also catalogued under the title Woman Undressing, which provides evidence that its primary purpose was to titillate, although (presumed) director Esmé Collings only lets his unidentified star strip down to her voluminous petticoat.
Given the lack of reliable background information, it’s impossible to say whether this coyness was intended to be erotic or whether a beady eye was being kept on obscenity laws so strict that the philosopher Bertrand Russell once complained that it was impossible to campaign against them without breaching them. It may of course have been a little of both.
British cinema’s oldest direct precursor to the Fifty Shades of Grey phenomenon was the Gainsborough studio’s 1943-47 cycle of costume melodramas, which were more or less explicitly marketed on the strength of their erotic appeal – specifically that of James Mason (often complete with riding crop and tight britches) treating Phyllis Calvert and Margaret Lockwood appallingly badly, but in such an irresistibly smouldering way that the films’ largely female audiences secretly longed for him to do the same to them. A contractually-tied Mason loathed the films, but this all too evident on-screen disdain only increased his fans’ ardour.
When the British Board of Film Censors (as was) agreed to pass a serious documentary about naturism in the mid-1950s, this gave an immediate green light to numerous similar “documentaries’ by shamelessly opportunist producers who took care to adhere to BBFC guidelines (“Breasts and buttocks, but not genitalia [would be accepted] provided that the setting was recognisable as a nudist camp or nature reserve”).
This effort by photographer-turned-filmmaker George Harrison Marks came relatively late in the cycle, but retains a fond following thanks to its catchy title and a genuinely charming performance by model-turned-actor Pamela Green .
Two D.H. Lawrence creations bookended the 1960s: the obscenity trial of Lady Chatterley’s Lover in 1963 (the year in which Philip Larkin alleged that sexual intercourse began) and the international hit that Ken Russell made of Women in Love , thanks not least to one of the most notorious scenes in all British cinema, in which Alan Bates and Oliver Reed engage in full-frontally naked wrestling on a rug in front of an open fire to underscore their characters’ latent homoeroticism. But there was also a powerful sensuality emanating from Glenda Jackson ’s Oscar-winning performance as the wayward Gudrun.
A (slight) relaxation of censorship at the turn of the 1970s triggered a decade where the softcore sex comedy was one of the few surefire commercial bets for British cinema. Most were neither sexy nor funny, and this one isn’t particularly erotic either, but it does cast a keenly satirical eye on how the sex-film business was run at the time, with wide-eyed ingénues on both sides of the camera and a plot that contrives multiple adaptations of the notoriously filthy poem to please different backers: hardcore porn, a gay western, a kung-fu musical and a family-friendly compromise.
The martyrdom of Saint Sebastian had been a key erotic symbol in western art for many centuries before Derek Jarman and Paul Humfress ’s cinematic take. One of the most sexually explicit films then made in Britain, it begins with an aggressively symbolic dance performed by Lindsay Kemp’s troupe wearing giant phalluses before decamping to a remote garrison where various Roman soldiers either suppress or give in to their various homosexual urges. The amount of frontal male nudity was unprecedented in British cinema for the time: a blatant erection slipped past the BBFC thanks to cunning framing subterfuge during the official inspection.
Nicolas Roeg has consistently demonstrated one of the most powerfully erotic imaginations in all British cinema: Performance, Walkabout (both 1970), “Don’t Look Now” (1973) and The Man Who Fell to Earth (1976) all provide ample evidence, as does the more recent Puffball (2006), with its show-stopping glimpse inside the protagonist’s vagina at the moment of orgasm. But the Roeg film most completely bound up in the erotic is this often intensely disturbing psychological drama about the obsessive affair between Art Garfunkel ’s psychiatrist and Theresa Russell ’s married client. As a by-product of an unusually intense shoot, Roeg married his leading lady.
“I’m obviously interested in pornography”, Peter Greenaway admitted in 1985
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