Acknowledgements List of illustrations Introduction: ‘Passed As Only Suitable for Exhibition to Adult Audiences: X’ Anne Etienne (University College Cork, Ireland), Benjamin Halligan (University of Wolverhampton, UK), and Christopher Weedman (Middle Tennessee State University, USA) 1. Green Penguin Films Kim Newman (Independent Scholar) 2. The Commercial Idealism of Controversial Cinema: Raymond Stross and the Censorship of The Flesh Is Weak Christopher Weedman (Middle Tennessee State University, USA) 3. Colour, Realism and the X Certificate: Horrors of the Black Museum and Peeping Tom Sarah Street (University of Bristol, UK) 4. Mediating Desire: Karel Reisz’s Adaptation of Saturday Night and Sunday Morning Simon Lee (Texas State University, USA) 5. Lolita, Censorship, and Controversy: The Archival Remains of the Dispute Between Canon L. J. Collins and Stanley Kubrick James Fenwick (Sheffield Hallam University, UK) 6. Paternalism, Bohemianism, and the X Certificate: The Party’s Over and the Pre-Swinging Set Kevin M. Flanagan (George Mason University, USA) 7. Mediatising Modernity: Femininity in the X-Rated Swinging London Film Moya Luckett (Texas State University, USA) 8. What Are the X-Rated Secrets of the Windmill Girls? Adrian Smith (Independent Scholar) 9. The Potent Sexuality of the Middle-Aged Woman: Alice Aisgill, Karen Stone, Zee Blakeley and Ruby Lucy Bolton (Queen Mary University of London, UK) 10. Censoring Carmilla: Lesbian Vampires in Hammer Horror Claire Henry (Massey University, Aotearoa New Zealand) 11. ‘The horror film to end all horror films’: 10 Rillington Place and the British Board of Film Censors’ Shifting Policy on True Crime TimSnelson (University of East Anglia, UK) 12. Class and Classification: The British Board of Film Censors’ Reception of Horror at the Time of the Festival of Light Benjamin Halligan (University of Wolverhampton, UK) Contributors Index

Adult Themes offers a full range of fascinating insights into Britain’s film culture across the long 1960s, specifically the deployment of the X certificate as a means of mapping previously uncharted territory in an increasingly permissive social climate. Taking in such varied films as Peeping Tom, The Party’s Over, Secrets of a Windmill Girl, 10 Rillington Place and Zee and Co, made and released during John Trevelyan’s liberalised leadership of the British Board of Film Censors, the twelve chapters (plus a thoughtful editors’ introduction) provide new perspectives on how films of this era responded to, mediated, and sometimes anticipated attitudinal change - or directly challenged the status quo – by means of the new possibilities granted to them by the ‘X’. Highly recommended reading for those interested in British cultural history, the Sixties, censorship and regulation, and the always contested cinematic terrains of sex and violence, crime and horror.

Global Exploitation Cinemas publishes original monographs and edited volumes that explore the highly dynamic area of international "exploitation" film production and consumption. Encompassing a broad range of contexts, from industry to audiences to cultural history, it considers filmic trends and traditions, the work of specific directors, producers, stars and audiences. Kate Egan (Northumbria University, UK) Tesjaswini Ganti (New York University, USA) Joan Hawkins (Indiana University, USA) Kevin Heffernan (Southern Methodist University, USA) Ernest Mathijs (University of British Columbia, Canada) Laura Mayne (University of Hull, UK) Constance Penley (University of California, Santa Barbara, USA) Eric Schaefer (Emerson College, USA) Jamie Sexton (Northumbria University, UK) Iain Robert Smith (King's College, London, UK) Dolores Tierney (University of Sussex, UK) Valerie Wee (National University of Singapore)