Starting with a section that pairs exploitation pioneers like Dwain Esper alongside cutting edge auteurs like Erich Von Stroheim, the volume documents the bleeding edge of the high/low cultural divide. Other essays examine the sexual melodramas of Weimer German cinema, explore the concept of Borat as a model for the new standardized cult film, and discuss the films of directors Tod Browning, Pier Pasolini, and Peter Watkins. This volume also contains a section devoted to the idea of "reality" inside and outside the documentary sphere, emphasizing audiences' desire to believe that "this is really happening," whether they're horrified or titillated. Addressing many aspects of "transgression" in cinema, these essays suggest that the distance between the venues and the audiences may not be quite as wide as viewers might imagine.
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