Vintage Classic Teen Erotica

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“It Felt Good, Didn’t It?”: 8 Vintage Sex Ed Films

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Watching these vintage sex education movies, it would be easy to feel a little smug. Most of them are badly acted, strangely staged, and full of outdated language.
But some people would argue that our contemporary take on sex ed isn't all that much better.
On Wednesday, July 24, Eve Ensler, the writer and activist who created 'The Vagina Monologues' and 'V-Day', is in the red chair .
She'll talk to George about the current state of sex ed, and share her belief that it's letting young people down and contributing to feelings of shame and confusion.
"I interview so many young teenagers, and so many boys have no idea what sex is. They don't have a clue. Girls don't know," she tells George.
"So they get together in sexual misery, right? Somebody jumps on somebody, and the girl goes 'that's what sex is? Oh my god, that's a nightmare, I don't want it.' And it begins the pattern."
Catch the full interview with Ensler tomorrow at 7 pm on CBC Television , and enjoy a squirm-inducing trip down memory lane below.
It's hard to say whether this is a sexual education film or a short horror movie. Either way, it's off-putting.
This is a post-war instructional film on menstruation that mainly focuses on teaching girls about how to use sanitary pads, but also gets into some odd advice: don't get your feet wet while you have your period. Make sure not to catch a chill. And look around for a nice hot drink if you're feeling out of sorts.
It may be a little dated, but one of the most interesting aspects of this film (a sequel of sorts to 'Boy to Man', another educational film released three years earlier) is hearing young women talk informally about their lives. Styles may change, but people are still people.
A Girl's Guide To Menstruation: Go Easy On The Square Dancing

This is the second part of a documentary about menstruation from the 1950s, and it's well worth watching for the pipe-smoking, fight-watching '50s dad (he shows up around the 0:30 mark) and the chart of what kinds of things you can and should do while menstruating (that starts around 5:38). Hair washing? Sure! Square dancing? Maybe not.
Masturbating: It Feels Like A Crime!

You've got to feel a little bad for the young guy who kicks this video off by talking directly to camera about his masturbation habits. It's just the beginning of a very frank and open three-and-a-half-minute odyssey through the sexual insecurities of teenage boys. Watching it in a classroom full of teenage boys must have been tons of fun for everyone.
Sex Outside Of Marriage: It's Irresponsible, And Possibly Disastrous

This circa-1960s video from the UK draws on some pretty questionable "science" to make its point: which is that "sexual intercourse outside of marriage" is "irresponsible, and possibly disastrous." The narrator goes on to say "we're not trying to influence anyone. Facts are our business just now."
Imagine what Dan Savage would have had to say if he was around back then.
Early 1960s Instructions On "Drawing The Line"

It's a little unclear what's going on at the beginning of this video, as two young people sit behind picture frames talking about how attracted they are to one another. It looks a little like an early episode of 'Star Trek', especially when "the line" from the title appears out of nowhere. And then it turns into a heated, and kind of self-aware ("don't get upset! It's only a movie"), round table discussion.
Daniel Reynolds , the YouTube user who uploaded this video, points out that one of the most interesting things about it is that "it reveals what dating used to be like: talking it over with the parents, putting on a suit." In fact, the whole video offers more instruction on how not to screw things up with a girl than on sex itself. An interesting window on another time.

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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

Watch and discover Features and reviews Lists From girlhood to adulthood: 6 French films about sexual awakening < Lists
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With our Teenage Kicks season celebrating movies about the joys and pains of adolescence, let’s talk about sexual awakening on screen... French-style.
As part of BFI ’s Teenage Kicks season, we teamed up with I am Dora to present a special screening of Maurice Pialat’s À nos amours (To Our Loves) on Sunday 10 August. After the screening, we held a salon in the Teenage Kicks teen bedroom installation at BFI Southbank and discussed the idea of the young femme fatale in French cinema as a construct of male directors’ fantasies, and how these depictions affect the female viewer’s sense of self.
Pialat’s film centres on 15-year-old Suzanne (a stunning performance by a very young Sandrine Bonnaire ) who – on a mission to escape her overbearing father, histrionic mother and brutish brother – embarks on a rampage of sexual adventure, working her way through partners with apparent cool abandon. As Suzanne’s transformation unfolds, audiences and those closest to her are left wondering what it is that she seeks: affection, freedom, pleasure, or a man just like her father? Maurice Pialat (who himself plays in the film as Suzanne’s father) directs a fresh-faced and inscrutable Bonnaire to give us few easy answers; here is a girl who seems to have the power of youth and beauty, but never quite finds what she’s looking for.
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In her essay to mark the Criterion DVD release of the film in 2005, critic Molly Haskell posits À nos amours as settling comfortably into a collection of iconic films exploring “the teenage girl on the cusp of sexual awakening”:
Part child, part femme fatale, innocent and dangerous in equal proportions, these schoolgirl seductresses, born to blossom under the eye of the camera, have exerted a fatal fascination for Pygmalion auteurs who seek to capture and unveil this drama of unfolding. But over the years, as one transfixing newcomer after another, barely out of braces and backpacks, embarks on the vita sexualis, we have to wonder, whose sexuality is it, exactly? Is this the way they see themselves, are these their yearnings, or is this precocious sensuality a projection of the guilty desires and fears of directors old enough to be their fathers?
To mark the occasion we’ve put together a list of six French films that play with and subtly subvert this idea of female ‘sexual awakening’ in cinema, from girlhood to adulthood.
Carl Theodor Dreyer ’s silent masterpiece focuses not on the unsteady steps into womanhood, but on the last moments of our 19-year-old heroine’s brief life. Here is a girl who eschews the pressures of gender conformity, refusing to wear women’s clothes and vowing her faith and obedience to no earthly man – only to God – and is punished severely.
While the film’s focus is firmly on Joan’s trial and persecution, critic Pauline Kael saw something else in Dreyer’s austere direction that combined stark close-ups and rapid editing to build the atmosphere of fervent oppression that leads to Joan’s torture and eventual death. For her, there was a subtle double meaning in the ‘passion’ of the title, referring both to its spiritual and subversively erotic dimension: “In [his] enlargement Joan and her persecutors are shockingly fleshly – isolated with their sweat, warts, spittle, and tears, and (as no one used makeup) with startlingly individual contours, features, and skin. No other film has so subtly linked eroticism with religious persecution.”
Séverine ( Catherine Deneuve ) is a 23-year-old woman languishing in the boredom of her bourgeois marriage. Having never been allowed to indulge in any sort of sexual experimentation in her youth, she has instead followed convention and married a handsome doctor who keeps her dripping in Yves Saint Laurent but cannot pique her sexual interest. Being unable to have a healthy sexual relationship within her marriage, she indulges in perverse fantasies of rape and sexual domination, eventually attempting to realise them by becoming a madame at a high-class brothel.
Luis Buñuel ’s exploration of Séverine’s sexuality is played out with characteristic surrealist flourish, and her true motivations remain always obscured. Critic Melissa Anderson has observed that, for Deneuve, this ultimate mystery became a calling card and the basis of the rest of her filmic output: “ Belle de Jour , more than any other film from the first decade of her career, defined what would become one of the actress’s most notorious personae: the exquisite blank slate lost in her own masochistic fantasies and onto whom all sorts of perversions could be projected.”
In Chantal Akerman ’s magnificent exploration of one woman’s need to contain her emotions in a fortress of control, she gives us a female protagonist who is a single mother, devoted housewife and afternoon prostitute. Steadfastly refusing to reduce Jeanne to an object that is the product of a seedy profession, Akerman lingers not on her afternoon visits with her male clients but instead gives meticulous detail to the time it takes for the dressing, the cooking and the cleaning that make up Jeanne’s day.
Akerman’s direction is almost reverent in its distanced respect for her heroine; she chose not to use close-ups or point-of-view shots, stating that she refused to cut “this woman in pieces”. Over three days (three hours and 21 minutes for the viewer), things start to unravel: a button is lost, the potatoes are over cooked and the coffee doesn’t taste right. As each small disaster disturbs the delicate equilibrium of 23, quai du Commerce, the film’s structure changes and the viewer is led for the first time into an encounter with a paying client during which Jeanne unexpectedly experiences an orgasm. In Jeanne’s world though, this sexual ‘awakening’ is not proof of a long dormant longing, but an unwelcome intrusion that induces a coolly murderous impulse.
In what could be a scene out of any teen movie, Catherine Breillat’s À ma sœur ! begins with two girls walking arm-in-arm talking about losing their virginity, but it soon becomes apparent that this is no American Pie . The girls could not be more different. Elena is the very epitome of youth and French beauty; her young, slim body is a site of reverence and she longs for the chase of romantic love. Anais’s body is a fortress, overweight and unkempt, and she has no such fantasies about this rite of passage. “My first time should be with nobody,” she says, “Guys are sick”.
Directing her film more like a horror than a coming-of-age drama, Breillat concerns herself with the violent and often humiliating reality of a girl’s loss of virginity. Employing real-time direction (the first scene in which Elena’s holiday love interest convinces her to have sex is 25 minutes long), she dethrones the idea that sexual awakening as a teenager is any sort of liberation. As the fallout from Elena’s loss of virginity plays out within their family, the film’s ferocious climax reveals Breillat’s preoccupation with the idea that any the ‘shame’ associated with a young woman’s sexual activity is not inherent in the act itself, but a result of the constructed lie of romantic love.
Michael Haneke’s Erika, the protagonist of The Piano Teacher , is hardly a girl on the cusp of womanhood. Instead she is a woman who has masochistically resisted the painful transition from girlhood. In her 40s, Erika ( Isabelle Huppert ) lives at home with her domineering mother, a relationship marked with dysfunctional co-dependence and embattled suffocation. From the outside she is a picture of bourgeois respectability, a well-paid and well-respected classical music teacher, whose every movement demonstrates precision and discipline. In private, Erika indulges in seedy voyeurism, visiting pornographic bookshops, spying on people having sex at drive-ins and then indulging in masochistic self-harm.
But this is not a tale of a kinky schoolteacher. Setting his film in Vienna, the birthplace of Freud, Haneke is as much interested in our fascination with Erika’s sexual deviations as he is in the deviations themselves. As Erika’s pursuit of control through sexual domination gains momentum, Haneke’s orchestration of his grim denouement leaves no one left unscathed.
Céline Sciamma ’s first two films ( Water Lilies , 2007; Tomboy , 2011) explored the myriad effects that societal conventions have on delicately forming female identities. In her third film, which opened the Director’s Fortnight at Cannes this year, 16-year-old Marieme (Karidja Touré) must navigate not only the disruptive onset of womanhood, but also the inequalities, prejudices and disadvantages of being black and living in the underprivileged ‘banlieues’ of north-western Paris. Marieme lives in a man’s world, with an abusive brother governing her unhappy home life. Her developing sexual autonomy is compromised by this patriarchal hold, as her love interest, Ishmael, initially rebuffs her advances for fear of reprisal from her brother. Taking refuge in a girl gang transforms Marieme, and her new group identity helps her to express a kind of bad girl sexuality that empowers her to consummate and then dominate her eventual relationship with Ishamel.
Dividing her film into four clearly marked sections in which Marieme changes her physical appearance to suit the different worlds (school, street, home) she must navigate, Sciamma shows the viewer how Marieme’s developing sexuality is both empowering and treacherous, potentially obscuring her eme
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