There she communicates with a black female inmate in a neighboring cell who has also been tortured! Soon after, in the communal showers, inmate Juana demands that the new girl wash her sexy naked ass (37:05 to 37:24) – it would have been far HOTTER had Juana desired to bathe the pretty new girl instead! Anyway, a scuffle then breaks out, with the nude women wrestling together on the shower-room floor until the guards break it up. As far as I can tell Reptile Channel isn’t worth bothering with. Here’s an example of what kitsch can be: There are English and American films that are technically flawless. Let us think of such an example when true art, taken as a truth of the whole, prevails. And, in a certain measure, this already more closely approaches the truth; however, it still does not express the whole truth. What was false, unfounded, untrue, was the whole film itself, the whole novel. In the very end, Juana snaps, and comes after the warden with several other crazed inmates, who attack and kill her with their bare hands (and teeth), with the male guard filming the whole thing. Then some more videos, like one where he threatened to kill a guy.
The film goes mostly downhill from there, as we watch the lesbian warden stripping for a guy who apparently runs the prison system. Because if we watch a film or read a novel, then without the author expressly pronouncing it, nevertheless the film or play intends to awaken the impression, and this impression remains in us, that in life things occur in this way, that the main line, the main direction of lifes occurrences, is like this. Soon after, we watch as the warden whips a nude, chained-up blonde girl (54:25 to 54:45) while the male guard watches. The lesbian warden is then shown punishing the new girl with shock therapy while the male guard watches. The girl is soon after returned to the women’s dorm, where she is comforted by one of the lesbian inmates who softly kisses her (50:10 to 51:00) – which was kind of hot. Then she whips the black girl in the next cell, before then applying shock treatement to a third female inmate, who turns out to be the girl who had unsuccessfully escaped in that opening scene! It is, precisely, in this that the cunning of the modern kitsch-manufacturers consists: they know how it is possible to turn out such novels or films that, in their totality, profess a falsehood, while possibly every individual detail, every individual word in them is true.
Films with such a plot were very common in America and Western Europe from the 1930s to the 1950s. Earlier, we said that the characteristic feature of bad poetry is that the rhyme is not good, the metre is not good, the images are neither fish nor fowl. We have seen, for example, in films the collapse of mines, industrial accidents, or strikes that correspond in every detail to reality. Described in them, very beautifully and very effectively, is, for example, a situation in which the son of a factory owner is in love with a factory-girl. In life, such cases occur that a manufacturers son marries a factory-girl. Most individuals hate their life, even with no sexual abuse. The merciless father does not even want to hear about their intention to get married. The next step is to get verified. 7th grade is where I started to get bullied by my peers and 8th grade is where everything completely fell apart. What once started as a contest between two friends was then interrupted by the cockroaches of society known as the Meat Sauce Mafia which led itself to a series of skirmishes of two friends united against a common foe and when that conflict reached its resolution they would be back right where they started; at least at first glance.
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