Vans Bondage Fiction
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Vans Bondage Fiction
Our newest serial is a fond tribute to TV's greatest adventure heroine of all time: The Damsel Makers. (complete)
Avast, mateys! "Spicy" Jeanne, the pirate, faces rough seas and rough handling in Over the 'Bounding' Main . (complete)
Everyone loves those plucky girl detectives... but did you ever try to imagine what it would be like to live with one? Take a peek at The Mysterious Brass-Bound Clue Of The Tapping Secret In The Hidden Mansion. (ongoing)
Shopping and peril-- the ideal combination in The Lingerie Shoppe. (complete)
It's intrigue in and around postwar Paris as Jeanne Thorne finds herself the subject of an "Occupational" Hazard. (incomplete; may or may not be continued)
The world's loveliest superheroines face an alliance of sinister super-villainesses in The Continuing Adventures of Magna-Maid and the League of Heroines . As of March 2003, newly resumed by Jeanne Thorne! (incomplete; may or may not be continued)
I've had a lot of great response to the reposting of my story called Jewels ; for those who enjoyed it, I am pleased to present the first chapter of a sequel: Therapy . Please be aware that, like Jewels , this one is a bit more frank in terms of language and sexuality than most stories at this site. (incomplete; I do plan to finish it eventually)
"Raiding" the Jungle Queen , featuring my own take on everyone's favorite lady archaeologist-adventuress. (incomplete; I do plan to finish it eventually)
Speaking of archaeology, here's my very first story . ( Zip version also available). (sort of complete, sort of incomplete; it doesn't so much end as it just kinda "stops")
Kit Palmer has the most unusual profession in Hollywood, in Girls on Film . (incomplete; not sure if I'll finish it)
Buxom brunette Belinda Carver is a nosey reporter who gets "taken for a ride", so to speak, in Hot Wheels . (complete)
The world's loveliest superheroines face an alliance of sinister super-villainesses in The Continuing Adventures of Magna-Maid and the League of Heroines (one part is complete, one part will probably remain incomplete unless/until my collaborator returns)
When a plucky ballet instructor stumbles onto an international abduction, she finds herself at the kidnappers' mercy in Dance to Danger . ( Zip version also available) (complete)
If you enjoy it, the sequel, Therapy , is under way.
Finally, be sure to check out the work of my fellow authors on the Friends page.
If you have a story you'd enjoy sharing here, just e-mail me at: jebdel@yahoo.com , and I'll be glad to have a look.
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[archiveorg slave_in_bondage width=640 height=480 frameborder=0 webkitallowfullscreen=true mozallowfullscreen=true]
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Graphic Violence
Explicit Sexual Content
Hate Speech
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Publication date
1937
Usage
Public Domain
Topics
Exploitation , Drama
Publisher
Jay-Dee-Kay Productions
Taken from IMDB : Mary Lou manages to escape abduction by a prostitution ring. She tells the Chief of Detectives they were planning to take her to the Berrywood road house, a well-known den of iniquity. Jim Murray and beautician Belle Harris are using her beauty shop to recruit floozies for their road house circuit. Dona Lee, who works at the beauty salon, is falling in love with young reporter wanna-be Phillip, but Murray gets jealous and makes life rough for him. Meanwhile Dona begins to figure out the racket, but becomes threatened by Murray's unwanted advances.
Addeddate
2007-03-13 17:22:14
Closed captioning
no
Color
black & white
Director
Elmer Clifton
Identifier
slave_in_bondage
Run time
01:09'12
Sound
sound
Year
1937
Straddles the line between moralistic and titillating (by 1930s Hollywood standards anyway), with some pulchritude, a conventional story line, mostly ponderous acting, a brief spanking sequence and an evil girl-trap featuring separate rooms for "entertaining" bankers, lawyers, tired businessmen and traveling salesmen. No politicians?
Thank you for the efforts you put in to make your website interesting and informative. I will visit the site again to gather some more valuable information. You really did a good job.
directions
Just watched Slaves In Bondage and to my ear there was a slight speed up in sound and motion. The dialog was noticeably fast and not at a natural pace.
I wonder if a player like VLC etc has a setting to adjust in playback. Anyone know this?
For rating, it had enough interesting dialog to give at least a 4. Along with spanking there's also a fan dance.
Pretty tame compared to later exploitation films, but a good watch anyway. It's got crime, romance, and hookers spanking each other -- what more do you want. Some of the acting is actually pretty good, especially from Martha Chapin (the one who looks like Jean Harlow).
Is there a reason that the Mpeg-1 file for this is only six minutes long? The streaming version that comes up when you open the page is truncated to six minutes, too. Since the file sizes on the mp4 and Mpeg-2 are bigger, I assume they're the complete film. Was there a problem in the upload, or something?
Due to a planned power outage on Friday, 1/14, between 8am-1pm PST, some services may be impacted.
Uploaded by
Scott Saunders
on March 13, 2007
Buy the latest issue of The Comics Journal magazine
STANTON IS A FASCINATING FIGURE in cartooning for at least two reasons. First, he could draw beautiful sexy women but chose to portray them in physical combat or bound, strapped, and gagged in the best dominance tradition. Why he did that is a question for his psychoanalyst, not me. I’m more fascinated by his work than his psyche.
The other fascinating aspect to Stanton is that he probably helped Steve Ditko invent Spider-Man.
St. Wikipedia sums him up this way (avoiding Ditko):
Eric Stanton was an American underground cartoonist and fetish art pioneer.
While Stanton began his career as a bondage fantasy artist for Irving Klaw, the majority of his later work depicted gender role reversal and proto-feminist female dominance scenarios. Commissioned by Klaw starting in the late 1940s, his bondage fantasy chapter serials earned him underground fame. Stanton also worked with pioneering underground fetish art publishers, Leonard Burtman, the notorious Times Square publisher.
The details of Stanton’s life and some representation of his work I’ve taken from Eric Stanton & the History of the Bizarre Underground by Richard Perez Seves (288 7x8-inch pages, b/w and some color; 2018 Schiffer Publishing hardcover, $29.99).
Author Seves, who says on the book jacket’s back flap that he is a collector “obsessed” with vintage American fetish art, musters impressive research in the book: he dug into FBI reports, court records, Navy documents, the New York State Census, previous books about Stanton (Eric Kroll’s The Art of Eric Stanton and other tomes), as well as such obvious sources as Belier Press publications and many obscure periodicals ( Comics Buyer’s Guide !?). And he interviewed many persons who either knew Stanton or others of the fetish milieu. The book has an index and is copiously footnoted in the back by page number, which notes add substantial information to the narrative as well as citing Seves’ extensive sources.
His text is accompanied throughout by lots and lots of illustrations, many in color, and Seves gives the histories of several of Stanton’s serials and tells their stories. The book is virtually an extensively annotated bibliography of Stanton’s life work. But it’s more than that. It’s also a detailed biography, a sketchy history of “the bizarre,” and an exhibition of Stanton’s ladies. Reproduction throughout is high quality.
Among the illustrations are three consecutive pages from his celebrated Sweeter Gwen , a retake of John Willie’s classic Sweet Gwendoline.
The book’s only scholarly flaw is Seves’ failure to caption the illustrations; they are usually explained in the adjacent text, but you have to look hard for it. A photograph of an attractive middle-aged woman we determine is Stanton’s mother only because the text nearby is about her.
Stanton (birth name, Ernest Stanzoni, Jr.) was born September 30, 1926 in Brooklyn. Ernest Sr., it turns out, was not his biological father. Ernest Jr. was the result of a fling his mother, Anna, had in the early years of her marriage. Ernest Jr. enlisted in the Navy upon graduation from high school in June 1944. Discharged in 1946, Stanton took advantage of the G.I. Bill, which paid $20/week for a year to finance vets’ search for jobs; he was actually loafing, living at home, and playing softball and shooting dice with friends. After the G.I. Bill funding expired, he worked in a nightclub with his stepdad (his mother having divorced Ernest Sr. and re-married). And he drew pictures in his spare time—often of fighting women.
In 1948, a softball friend introduced him to an uncle, cartoonist Boody Rogers, and Stanton assisted him for a year, helping out with a quarterly comic book, Babe: Darling of the Hills , and the somewhat less regularly published Sparky Watts , the four-color reincarnation of a newspaper comic strip Rogers had produced in the early 1940s about a superpowered guy with spectacles. By late 1949, Rogers’ publisher had abandon both titles. Rogers gave up cartooning and moved to Arizona, where he opened a pair of art-supply stores that were successful and sustained him until his death February 6, 1996 at the age of 91.
During his last months with Rogers, Stanton was also producing work for Irving Klaw. Klaw, self-named the "Pin-up King," was a merchant of sexploitation, fetish, Hollywood glamour pin-up photographs, and underground films. His business, which eventually became Movie Star News, began in 1938 when he and his sister Paula opened a basement level struggling used bookstore on 14th St. in Manhattan.
STANTON HAD SEEN an ad in Whisper or another of the soft-core girlie magazines of the day. The ad touted a cartoon “serial” published by Klaw, and Stanton sent off for it. Cartoon serials, of which Stanton would make a life’s work, were published in “chapters” that consisted of a sequence of drawings accompanied by text narratives, the text often just typewritten and pasted next to the pictures. Some took shape as comic strips with speech balloons, but those were relatively rare.
The serial Stanton sent for depicted fighting women. The drawings were okay, Stanton thought, but he believed he could draw female combat better so he wrote Klaw, saying he’d like to do something for him. Klaw invited him to submit samples, which Stanton promptly did. And soon, he was drawing regularly for Klaw at $15 a page. When the Rogers’ enterprise collapsed, Stanton quickly turned full-time to producing fetish art.
Although Stanton preferred doing fighting women, Klaw also wanted bondage serials, and Stanton supplied them. Ditto serials about dominating women, who subjected other women—and men—to successive physical humiliations. Stanton always generously deployed high heels, gartered stockings, and long legs to satisfy the general fetish reader.
Seves does a little credible psychoanalysis along the way:
Almost at once Stanton recognized that art provided a unique satisfaction he did not experience in real life: not only access to a special fantasy world, but a sense of personal power: ‘I had control ... I could have the people I drew do anything I wanted’ he reflected in later years. ‘I was king of my world.’ Control and powerlessness—as mirrored in the secret subculture of the sexual fantasist–would become a major theme in his art. [...]
Something in Stanton’s psychological makeup dictated channeling and creating art as a means of attaining a proper balance and some measure of control in his life. The actual art he made—the artifact itself—was always less important than the process. [...] It was the process of making art that Stanton lived for; it was that process of exploration and discovery.
And Seves quotes Stanton’s son Tom, who said that Stanton “said sex is the bottom line of the psychology of people. Sexploitation, particularly fetish art, became a means of exploring the human psyche. He saw these stories—many of them—not simply as ‘porn,’ but as journeys of self-discovery. Sex was just the key that unlocked the door.”
Or maybe Stanton just liked drawing sexy women for the pure thrill of it.
In 1951, Stanton married Grace Marie Walter on October 20; they had two children, both boys. The same year, Stanton enrolled in the Cartoonists and Illustrators School founded by Burne Hogarth. Stanton took courses from Hogarth and from Jerry Robinson, and in Robinson’s class, he met Ditko and Eugene Bilbrew, an African-American artist who Stanton would introduce to Klaw. As Eneg (“Gene” spelled backwards), Bilbrew, like Stanton, would pursue a career in fetish art.
Ditko, asked years later how he and Stanton met, said, “I liked the way he drew women.” More about their relationship anon.
Over the years, Stanton would produce work for several merchants of fetish art: Edward Mishkin, who ran a store near Times Square (in those days, the neighborhood of sexploitation with dozens of stores selling girlie magazines, photographs, movies, and smut); Leonard Burtman, publisher and merchandiser; Max Stone, publisher of fighting female serials; and Stanley Malkin, also a Times Square entrepreneur, who would hire Stanton, putting him on salary, to do covers for his magazines—Stanton’s longest salaried situation as a fetish artist, 1963-68. Malkin also furnished and paid all the expenses for a small apartment for Stanton.
All, plus Klaw, were eventually arrested, tried and convicted of trafficking in pornography (“printed circulars, pamphlets, booklets, drawings, photographs and motion picture films, which were non-mailable in that they were obscene, lewd, lascivious, indecent, and filthy”). After serving their sentences (usually payment of a fine), all returned to their businesses under different names—except Malkin, who gave it up in 1969.
Stanton’s wife, unfortunately for him, was fiercely opposed to the work her husband did, thoroughly repulsed by it. To please her, he eventually took a full-time job delivering parts for Pan Am, doing only a little drawing in his spare time. Lifting a heavy part one time, he strained his back, and the pain would stay with him for the rest of his life, often becoming severe enough that he could not get out of bed. He began taking prescription painkillers and eventually graduated to other drugs. Finally, he discovered the remedial effects of yoga and practiced the discipline regularly.
Since he was unable to lift anything because of his back, Stanton lost his job at Pan Am. He returned to drawing full time. In 1958, he and Grace separated, and in 1960, Stanton sued for divorce, which was granted June 3 in Las Vegas, where quickie divorces were readily accomplished.
THE SAME YEAR that he and Grace separated, Stanton joined Ditko in a studio at 276 W. 43rd Street and revived the camaraderie of their C&IS days.
“Ditko welcomed Stanton as his studio mate,” reports Seves, “—thus initiating one of the most unique, synergetic, and confounding partnerships in comics art history. In the peculiar way that opposites sometimes attract, the Stanton/Ditko association almost seemed to make sense. Here was Ditko, the unyielding comic artist who was disinclined to draw women; here was Stanton, the mutable fetish artist who was uninterested in depicting men.
“Ditko’s material showed a total unawareness of sex while Stanton’s material conveyed a kooky preoccupation with it. Yet both shared the same ambition of make it as artists; and both, one might say, were earnest and obsessed.”
“We had a great working relationship,” Stanton recalled in a 1988 interview. “We were the only guys who could have gotten along with each other.”
Says Seves: “One could only imagine how gratifying Ditko’s presence must have been to Stanton after his time with Grace; from being around someone who was repulsed by art to being around someone whose very waking moment was consumed by it. ‘There were times Steve would spend twenty hours straight doing a comic,’ Stanton remembered.
“And Ditko was completely accepting of Stanton: ‘He thought my stuff was funny. We’d laugh a lot,’ Stanton said, as he fondly remembered years later. ‘Every experience that I had with Steve was terrific, as far as I was concerned.’”
The studio was bare bones. “It was a room about ten feet by twenty,” said Stanton. “One side was all windows. Steve’s desk and mine faced each other next to the window.”
It was, in short, just the kind of setup that encouraged the two artists to kibbitz each other’s wor
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