Teen Glory Hole

Teen Glory Hole
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Fully supported English (United States) Partially supported Français (Canada) Français (France) Deutsch (Deutschland) हिंदी (भारत) Italiano (Italia) Português (Brasil) Español (España) Español (México)
2011 2011 Not Rated Not Rated 1 h 50 m
Whores' Glory (2011) is the third and final part in Michael Glawogger 's 'globalization trilogy', the other parts being Megacities (1998) and Workingman's Death (2005) .
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Depressing, Highly Effective and Great
I wasn't sure what to expect when my wife picked out this movie to watch but man was this movie ever thought provoking and interesting. What makes the film unique is that there is no narration or cuts to "experts" and hardly any interviews. The camera is more or less a fly on the wall. The only negative this is that the depressing music is cranked a little too high in the mix and is really obtrusive at times. The movie covers prostitution in Thailand, Bangladesh and Mexico. The documentary in specific looks at a midrange operation in Thailand and a sad and depressing filthy brothel in Bangladesh with young girls, and a low rent operation in Mexico. The movie is very effective. Some complain that he isn't painting a fair picture of prostitution leaving out the nice clubs in Amsterdam and Nevada. In fact in the Mexican town you can see a big building in many scenes with the word Lipstick on it. This is a nice strip club with good looking girls who you can take upstairs for about five times what the girls who make it into the documentary charge, but instead he shows a sorry strip club with very disturbing looking girls and the low rent section of the Tolerance Zone with crack ladies of the night. If he just showed the glitzy brothels, this movie wouldn't have nearly the same impact as it does. The Thai joint is the only glitzy joint here with hairdressers and makeup people dolling them up before the night. The Bangladesh and Mexican places don't even have running water and the girls are lucky if they even have a mirror. Bottom line: this movie is really great. Even my wife liked it and she usually hates documentaries and anything with subtitles... I am glad that she picked it out. Only the music detracts from this moving documentary.
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An examination of the lives, needs, troubles, and hopes of prostitutes in Thailand, Bangladesh, and Mexico. An examination of the lives, needs, troubles, and hopes of prostitutes in Thailand, Bangladesh, and Mexico. An examination of the lives, needs, troubles, and hopes of prostitutes in Thailand, Bangladesh, and Mexico.

Credit: Courtesy Serge Sorokko Gallery/Glitterati Editions
Unseen photos provide a sensitive look at America's early 'working girls'
Dita Von Teese is a burlesque performer, model and author. This is an edited extract from her foreword to "Working Girls: An American Brothel, Circa 1892" by Robert Flynn Johnson.
Women in sexual professions have always distinguished themselves from other women, from the mores of the time, by pushing the boundaries of style. The most celebrated concubines and courtesans in history set the trends in their respective courts. The great dames of burlesque -- Sally Rand, Gypsy Rose Lee -- boasted a signature style on- and offstage, reflecting broader-than-life personalities.
Dita von Teese on the eternal allure of a well-dressed gentleman
Given that photography was still an emerging technology, an emerging creative medium, when these "working girls" posed for William Goldman in the 1890s at a Reading, Pennsylvania brothel, the entire exercise transcends their initial business liaison. The instantaneous concept of click-and-shoot was still decades away. To be photographed required sitting very still. The women featured in Goldman's collection obviously caught his eye. Not just anyone is asked to be the subject of artistic documentation.
Courtesy Serge Sorokko Gallery/Glitterati Editions
The local photographer and his anonymous muses appear to straddle an artful titillation, at times striving toward Degas nudes and at another, more in the spirit of a strip and tease. There is a beauty in even the most mundane moments.
Among Goldman's models, my own gaze zeroed in on the striped stockings and darker shades of their risqué brassieres. These ladies of Reading, Pennsylvania, might not have had the wealth of Madame du Barry, celebrated mistress of Louis XV of France, or the fame and freedom of a silver-screen sex goddess such as Mae West. But they sought to elevate their circumstances, to feel lovelier and more fashionable, with a daring pair of knickers.
Courtesy Serge Sorokko Gallery/Glitterati Editions
To feel special is fundamental to the human condition. Few opportunities outshine a sense of specialness than when an artist asks to record your looks, your beauty. Under the right circumstances, to be the object of admiration -- of desire -- to be what is essentially objectified is not only flattering. It can also provide a shot of confidence and a sense of strength and power and even liberation, however lasting or fleeting.
Courtesy Serge Sorokko Gallery/Glitterati Editions
For these working girls who were already going against the drudgery of toiling in a factory or as a domestic, who were surviving in a patriarchal world by their wits and sexuality, the opportunity to sit for Goldman was very likely not only thrilling. It was also empowering.
One can only imagine the mutual giddiness prevailing among them all, too, at the possible outcome from all these lost afternoon shoots. In a singular image from this collection appears Goldman striking a pose as proud as a peacock. It's one of stock masculinity in the canons of classic portraiture (though usually in military uniform), and like his muses, presented in all his naked glory. By sharing in the objectivity of the process, Goldman basks in the specialness his models must have felt. By stepping around the lens, he becomes a true confidante.
Courtesy Serge Sorokko Gallery/Glitterati Editions
It suggests a balance of power between artist and muse, man and woman -- at least behind closed doors. Their collective decision to strip and strut for the camera reveals a shared lack of shame for the body beautiful and, in that, a shared, albeit secret, defiance of cultural mores.
Courtesy Serge Sorokko Gallery/Glitterati Editions
By all accounts from curator Robert Flynn Johnson's devoted research on this once-lost collection, Goldman seems to have kept his treasured collection as a personal trove. As a successful photographer of weddings and social events, it was most certainly not in his interest for the public to know about his private creative pursuits.
Courtesy Serge Sorokko Gallery/Glitterati Editions
The brothel was a necessary evil in town, where men with certain desires visited women who would oblige. In this case, it was the desire of a man to capture the beauty and sensuality of the women he befriended. There is much to learn and (most of all!) take pleasure in with this discovery.
As these lost photographs illustrate more than a century later, one period's "social problem" is another's cultural revelation.
"Working Girls: An American Brothel, Circa 1892" by Robert Flynn Johnson, with a foreword by Dita Von Teese, is out now.
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Fully supported English (United States) Partially supported Français (Canada) Français (France) Deutsch (Deutschland) हिंदी (भारत) Italiano (Italia) Português (Brasil) Español (España) Español (México)
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The world was destroyed. One hole started it all. But three guys just wanted a peaceful lunch break. Love can grow from the craziest places. Like the break room of a medical facility in the ... Read all The world was destroyed. One hole started it all. But three guys just wanted a peaceful lunch break. Love can grow from the craziest places. Like the break room of a medical facility in the barren wasteland of the future. The world was destroyed. One hole started it all. But three guys just wanted a peaceful lunch break. Love can grow from the craziest places. Like the break room of a medical facility in the barren wasteland of the future.

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