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There is an authoritative guide for every possible kind of movie except “adult” films. Adult Video News—the extraordinary trade journal that covers the adult industry—has filled this void with a superb collection of reviews of the best porno videos and DVDs. This book is for the aficionado of erotica, couples, viewers, and everyone in between.The AVN Guide to the 500 Greatest Adult Films of All Timeincludes the magazine’s selection of “101 Greatest Adult Tapes of All Times” and much more. In addition, entertaining sidebars run throughout (e.g., Ten Best Couples Films, the Ten Funniest Titles, Ten Best Gonzo Flicks, Ten Best Gay Videos, Ten Best Euro Style Videos, Funniest Hollywood Takeovers, and more). It is a skillful compilation of professional reviews of the best the adult industry has produced, arranged by the commonly used categories—among them “Couples,” “Pro-Amateur,” “Specialty,” “Gonzo,” “Gay-Bi,” “Wall to Wall,” “Alternative,” and more. The 500 reviews were originally written as guides for retailers—so they are gritty, honest, and absolutely straightforward in their evaluation. They provide production details and other inside information rarely known outside the adult industry, including the advice AVN gave to retailers on stocking and marketing specific films.

From early twentieth-century stag films to 1960s sexploitation pictures to the boom in 1970s “porno chic,” adult cinema's vintage forms are now being reappraised by a new generation of historians, fans, preservationists, and home video entrepreneurs-all of whom depend on and help shape the archive of film history. But what is the present-day allure of these artifacts that have since become eroticized more for their “pastness” than the explicit acts they show? And what are the political implications of recovering these rare but still-visceral films from a less “enlightened,” pre-feminist past? Drawing on media industry analysis, archival theory, and interviews with adult video personnel, David Church argues that vintage pornography retains its retrospective fascination precisely because these culturally denigrated texts have been so poorly preserved on political and aesthetic grounds. Through these films' ongoing moves from cultural emergence to concealment to rediscovery, the archive itself performs a “striptease,” permitting tangible contact with these corporeally stimulating forms at a moment when the overall physicality of media objects is undergoing rapid transformation. Disposable Passions explores the historiographic lessons that vintage pornography can teach us about which materials our society chooses to keep, and how a long-neglected genre is primed for serious rediscovery as more than mere autoerotic fodder.

Video peepshows, porno theatres, garden pavilions – with subtle insight, Tom Burr (*1963) sheds light upon what is marginalized, or not immediately recognizable. His works, which make reference to Minimal art's object sculptures, redefine them in current socio-economic and “queer” aspects. By acting as an intermediary between formal stringency and socio-political content, Tom Burr's works overcome Hal Foster's criticism that Minimal art tended to “handle the viewer as historically innocent and sexually indifferent." With comprehensive texts and illustrations, this book features an artist who belongs among those who have shaped a new form of institutionally critical art.In her seminal text on “Tom Burr's Minimalism”, author Juliane Rebentisch discusses how the artist “injects a new political and aesthetic engagement into certain works by Smith, Serra, Smithson, and Morris, by shifting their logic.” Detecting a melancholic aspect of Burr's queer minimalist appropriations, she writes that “they connect in a peculiar way with what one might call the sepulchral quality which seems to predestine the anti-monumentalism of the minimalist aesthetic for the tasks of memorial art. At the same time the dialectic of mourning and desire, which can be released by the recollection of a largely destroyed sub-culture in Burr's minimalist adaptations, is also, at least potentially, directed forward towards another future – a queer future. In so far as Burr's works also function as allegorical gestures by means of which an image of the present crystallizes in images of the past, this opens the present up to the future.“ ContributorsTom Burr, Carina Herring, Juliane Rebentisch

From early twentieth-century stag films to 1960s sexploitation pictures to the boom in 1970s “porno chic,” adult cinema's vintage forms are now being reappraised by a new generation of historians, fans, preservationists, and home video entrepreneurs-all of whom depend on and help shape the archive of film history. But what is the present-day allure of these artifacts that have since become eroticized more for their “pastness” than the explicit acts they show? And what are the political implications of recovering these rare but still-visceral films from a less “enlightened,” pre-feminist past? Drawing on media industry analysis, archival theory, and interviews with adult video personnel, David Church argues that vintage pornography retains its retrospective fascination precisely because these culturally denigrated texts have been so poorly preserved on political and aesthetic grounds. Through these films' ongoing moves from cultural emergence to concealment to rediscovery, the archive itself performs a “striptease,” permitting tangible contact with these corporeally stimulating forms at a moment when the overall physicality of media objects is undergoing rapid transformation. Disposable Passions explores the historiographic lessons that vintage pornography can teach us about which materials our society chooses to keep, and how a long-neglected genre is primed for serious rediscovery as more than mere autoerotic fodder.