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represents the second wave (circa 1975–1985). Unlike the clinical, educational nudity of the 1960s "Aufklärungsfilme" (sex education films), the Re-Tabu movement was raw, psychological, and often shot on grainy 16mm film. These films were not pornography as we know it today; they were psychodramas of desperation. The "Re" implies a revisiting of themes that society deemed un-discussable : incestual tension, religious ecstasy mixed with lust, and the breakdown of the bourgeois family unit.
Before streaming, before DVDs, there were "Loops." In Germany, Austria, and Switzerland, these were short, silent (or minimally scored) 8mm or Super-8 film cartridges designed for private projectors. A "Loop" typically lasted 3 to 5 minutes before restarting automatically. Re TABU- LOVE Film- Ekstase Video German Loops
This essay explores the thematic and historical intersections between two landmark films of the early sound era: F.W. Murnau’s (1931) and Gustav Machatý’s represents the second wave (circa 1975–1985)
represents the second wave (circa 1975–1985). Unlike the clinical, educational nudity of the 1960s "Aufklärungsfilme" (sex education films), the Re-Tabu movement was raw, psychological, and often shot on grainy 16mm film. These films were not pornography as we know it today; they were psychodramas of desperation. The "Re" implies a revisiting of themes that society deemed un-discussable : incestual tension, religious ecstasy mixed with lust, and the breakdown of the bourgeois family unit.
Before streaming, before DVDs, there were "Loops." In Germany, Austria, and Switzerland, these were short, silent (or minimally scored) 8mm or Super-8 film cartridges designed for private projectors. A "Loop" typically lasted 3 to 5 minutes before restarting automatically.
This essay explores the thematic and historical intersections between two landmark films of the early sound era: F.W. Murnau’s (1931) and Gustav Machatý’s
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