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Aristide Massaccesi 15 December — 23 Januaryknown professionally as Joe D'Amato Frankenstein del sesso, was an Italian film producerdirector and cinematographerwho worked in many genres westernsdecameroticipeplumwar filmsswashbucklercomedyfantasypostapocalyptic filmand erotic thriller but is best known for his horrorerotic and adult films. D'Amato worked in the s as electric and set photographer, in the s as camera operator, and Frankenstein del sesso onwards as cinematographer.

Starting inhe directed and co-directed around films under numerous pseudonyms, regularly acting as cinematographer as well. From to and from toD'Amato also produced and Frankenstein del sesso about adult films.

D'Amato took on the role of director for the first time in He started out with a number of small western films Go Away!

Trinity Has Arrived in Eldorado and A Bounty Killer in Trinity and decamerotici More Sexy Canterbury Tales and Novelle licenziose di vergini vogliose which he partly directed, partly co-directed [15] before going on to direct the gothic horror film Death Smiles on a Murderer and the war film Heroes in Hellboth starring Klaus Kinski. D'Amato's next film Emanuelle's Revengewhich he co-directed with Bruno Mattei who remains uncredited because D'Amato was a "rising name"[23] was one of several films at the time whose titles alluded to the successful French erotic film Emmanuelle In his next film, the commedia sexy Voto di castitàscripted by George EastmanD'Amato met Laura Gemserwho would star in many of his films and in the s Frankenstein del sesso early s would also regularly work as costume designer for his productions.

In this first film, she only played the small part of a French maid, but it was during the shoot that D'Amato got the idea to use her as star in his next film. Eva nera was the exotic erotic drama which D'Amato directed starring Gemser Frankenstein del sesso topless snake dancer alongside Jack Palance and Gabriele Tinti — her future husband. Gemser, who had previously starred in Bitto Albertini 's Black Emanuellewent on to shoot the following five films of the Black Emanuelle series under D'Amato's direction.

Movie business was very good. We travelled round the world, finding new and fascinating locations for our movies.

Of the 12 films D'Amato directed in and9 were shot in the Dominican Republic. In Frankenstein del sesso interview, he said that once the trip was paid for, the costs were low and the setting suggestive "the Caribbean In mid-Octoberback in Italy, D'Amato started shooting the nunsploitation film Images in a Convent[38] [39] and in early Frankenstein del sesso, which was to become a particularly productive year, [40] he directed the violent erotic thriller Il porno Frankenstein del sesso della settima strada The Pleasure Shop on Seventh Avenue [41] on location in New York[42] both films produced by Franco Gaudenzi's company Kristal Film.

The voodoo-themed Sesso nerowritten by George Eastmanwas the last film D'Amato shot in the Caribbean, at the end ofand the first film D'Amato produced on his own, through his newly founded company, P. Produzioni Cinematografiche Massaccesi. Of the Caribbean group of films it received the earliest theatrical release — the films only being released gradually throughout and After his return from the Caribbean, D'Amato also co-founded Filmirage and used the companies to produce and direct the gore film Antropophagusproduced through P.

D'Amato also founded and co-founded two further production companies "Cinema 80" and "M. For M. Donatella Donati, the daughter of Ermanno Donatibecame D'Amato's assistant and constant collaborator, usually acting as production secretary and assistant Frankenstein del sesso. The two companies were the main vehicles for D'Amato's film production of this period. From untilD'Amato produced 14 hardcore pornographic films through both companies Cinema 9 films, M.

The average Cinema 80 or M. It recounted the final days of the Roman Emperor Caligula and was followed by two purely hardcore pornographic films — Una vergine per l'impero romano and Messalina orgasmo imperiale — in which D'Amato reused sets and costumes from the first film, albeit on a significantly lower budget. They have been called his "porno- peplum trilogy ". Messalina orgasmo imperiale shot in also happened to Frankenstein del sesso the last film of this period.

InD'Amato had taken over a company from producer Ermanno Donati. D'Amato had renamed the company to "Filmirage" and used it to produce his own and, from onwards, also other Frankenstein del sesso films Frankenstein del sesso the international market.

The films follow the success of Mad Max and Frankenstein del sesso Max 2 In and earlyD'Amato briefly reactivated his company M. D'Amato is reported to have collaborated on some of these himself as well, although it remains speculative in which function and on which ones.

The four films recall the style and themes of Tinto Brass 's La chiave The Key while their plots and characters are not interconnected in any way. There followed a phase in which D'Amato directed softcore films predominantly in the United States, often takes on popular American films.

At the beginning of the s, D'Amato revisited his Ator series with a concluding entry entitled Quest for the Mighty SwordFrankenstein del sesso featuring the Son of Ator. Ininspired by the success of the Chinese erotic comedy Sex and ZenD'Amato then went to the Philippines to shoot a number of Asian themed softcore films, for which he often used Chinese pseudonyms. Later inD'Amato went back to predominantly producing Frankenstein del sesso directing hardcore pornography.

In between shooting adult films from toD'Amato also made four attempts at returning to genre films. Inhe directed the erotic drama Provocation set in the Italian countryside of the s starring Erika Savastani, [95] and in the erotic comedy Top Girl set in and around an American TV station [95] and the erotic thriller The Hyena starring Cinzia Roccaforte, which received a limited theatrical release in Italy.

Throughout his career, D'Amato used his birthname Aristide Massaccesi only once for a directorial credit, namely for Death Smiles on a Murderer For his first work as camera operator, it was the only name he was credited with, and as cinematographer, writer of stories and scriptwriter, he credited himself or was credited with it regularly until the early s.

The first pseudonyms used by Aristide Massaccesi were his actor's credits in the spaghetti westerns Straniero His best known pseudonym is the anglicized Joe D'Amatowhich he first adopted as director of Giubbe Rosse Frankenstein del sesso The pseudonym Federiko Sloniskosometimes also spelled Federico Slonisco or any mixture of these two spellings including the short form Fred and several other mis- or variant spellingsFrankenstein del sesso regularly used for D'Amato's work as cinematographer starting in The pseudonyms Federico Slonisco Jr.

This pseudonm is also Frankenstein del sesso be found as directorial credit for Death Smiles on a Murderer in the entry at Public Cinematographic Register, but was later changed to D'Amato's birthname for the release.

David Hills was also used as directorial credit on an early announcement of Deep BloodFrankenstein del sesso was exchanged Frankenstein del sesso the allonym Raf Donato for the official release. For the last two films of D'Amato's "porno-peplum trilogy", Una vergine per l'impero and Messalina orgasmo imperiale both releasedD'Amato used Dirk Frey as cinematographer and Robert Hall and O.

Clarke as director, respectively. The pseudonym Peter Newton was used for D'Amato's credit as cinematographer on Paradiso blu [] and his directorial credit on Absurd The female pseudonym Joan Russell was used for D'Amato's Frankenstein del sesso credit on Una tenera storia For his oriental films ofD'Amato used a number of new pseudo-oriental pseudonyms. An allonym is distinguished from a pseudonym in that it is the given name or pseudonym of a different person from the one who should be credited.

Romano Gastaldithe pseudonym of Romano Scandariato, was used for the directorial credit on More Sexy Canterbury Taleswhich D'Amato directed while Scandariato was his assistant director, [] and for Fra' Tazio da Velletriwhich D'Amato left after a disagreement Frankenstein del sesso after the beginning of the shoot; Scandariato, his assistant, finished the film and was credited.

The film was reportedly directed by D'Amato and Santaniello was the film's producer. Anna Bergman ' s name was also used for the directorial credit on Paradiso blu Bergman was the main actress, but D'Amato directed the Frankenstein del sesso. Her name was used for the directorial credit because, according to Luigi Cozzi, the producer did not want it to be seen as an erotic film for which D'Amato was already known at the time.

Bernabei stated in an interview that he created it with Walerian Borowczyk 's name in mind. Of these 14 films, Bernabei directed 3, D'Amato According to an interview he gave init was to camouflage his return.

Raf Donatoa variant of Raffaele Donato's name, was used for the directorial credit on Deep Blood According to D'Amato, Donato had planned to direct the film, but only directed the first scene. D'Amato directed the rest of the film. According to the actresses who worked with him, D'Amato was sociable, humorous with a sense of irony, amiable, Frankenstein del sesso supportive; to some he appeared like a father. Gemser also remembered that D'Amato rarely got angry, and that when it happened he usually took it with irony; when deeply angered, however, he would shout and curse and become insufferable.

InJoe D'Amato was a special guest Frankenstein del sesso the London film festival "Eurofest" which took place at the Everyman Cinema, Hampsteadwhere he gave an onstage interview to Mary Ashworth inbetween screenings of Stage FrightEmanuelle and the Last Cannibalsand Frankenstein — the latter a world premiere, followed by a signing session.

Posthumously, on 14 Aprilthe Cinémathèque Française in Paris screened a D'Amato double Frankenstein del sesso from newly acquired theatrical prints under the title Le sang et la chair translation: The Blood and the Fleshconsisting of Antropophagus and Le sexe noir both The "Hofbauer Kongress", which takes place at Frankenstein del sesso once every year since at the Komm Kino in NurembergGermany, has Frankenstein del sesso screened D'Amato's films mostly from 35 mm printswith the 15th and 16th edition of the festival being especially devoted to the filmmaker.

Frankenstein del sesso D'Amato. D'Amato at the Cannes Film Festival. RomeItaly. MonterotondoMetropolitan City of RomeItaly. The Untold Story — also screenplay [] Ator, the Fighting Eagle [] Ator 2 - L'invincibile Orion [] Quest for the Mighty Sword Frankenstein del sesso Frankenstein [] I Frankenstein del sesso delle Antille [ citation needed ] David Hills was also used as directorial credit on an early announcement of Deep Bloodbut was exchanged by the allonym Raf Donato for the official release.

Screenings Edit InJoe D'Amato was a special guest at the London film festival "Eurofest" which took place at the Everyman Cinema, Hampsteadwhere he gave an onstage interview to Mary Ashworth inbetween screenings of Stage FrightEmanuelle and the Last Cannibalsand Frankenstein — the latter a world premiere, followed by a signing session.

Cinematographer: José F. Aguayo [] [] È mezzanotte Yes Cameraman, assistant director, actor. Cinematographer: Guglielmo Mancori [] [] Passa Sartana I cadaveri non fanno ombra! Cinematographer: Guglielmo Mancori [] [] Armiamoci e partite! Trinity Has Arrived in Eldorado? According to D'Amato himself, he directed the film, but let production manager Santaniello take the credit.

D'Amato directed the scenes with Laura Gemser that tie the vignettes together; he remained uncredited. D'Amato observes the use of hand-held Frankenstein del sesso, which is otherwise not present in the Faar Delly series, as sign of D'Amato's possible involvement. The Mammoth Book of Slasher Movies. Retrieved 23 October A Chronology of the Cinema Volume 1 From the pioneers to Wallflower Press. The A to Z of Horror Cinema. Scarecrow Press.

Frankenstein del sesso 28 February Retrieved 13 March Cashiers du Cinemart Magazine. Martin's Press. Retrieved 13 February