User:Elenis/Lost Girls

= Specs for Lost girls =

Drawing and painting technique
Pastel color Lots of crayons

The Pornographic Genre
Moore and Gebbie tried to give "artistic validity" to the pornographic genre.

More recently, Moore has rather obviously, and with obvious delectation, explored the connections between sexuality and magic. You can see this repeatedly in the superheroic Promethea (1999-2005). Sex as a cosmic reality. Moore and artist Kevin O'Neill have archly recast elements from Victorian pornography, in keeping with the book's premise, that is, its continual use of characters and plots from nineteenth-century popular and literary fiction. In the League's second volume (2003), they even dare to bring protagonists Mina Murray (Bram Stoker's) and the much older Allan Quatermain (H. Rider Haggard's) into an awkward erotic clench. A ghastly climax in that same volume involves Mr. Hyde's rape, then murder, of the treacherous Hawley Griffin (Wells' Invisible Man). http://www.english.ufl.edu/imagetext/archives/v3_3/lost_girls/hatfield.shtml

The thin border between pornography and erotica

The decision of Top Shelf to publish such a book was striking, as it meant that a "respectable" publisher would after all add an adult comic to its titles. Neil Gaiman: "Top Shelf has taken the traditional approach of a respectable publisher when faced with the problem of bringing out pornography, and has chosen to package it elegantly, expensively and beautifully, thus pricing, shaping, signaling and presenting it to the world, not as pornography, but as erotica."

It's about sex, but also more than sex: childhood and innocence, repression, war, the flow of time.

Re-defining canons. Uses the clichés of pornography as well as reflects on them.
 * Different types of women. Real bodies, full of expressions, not idealized. Older women engaging in sexual acts
 * The importance of consequences (ignored in most pornography)

Criticism
Neil Gaiman, a long-time friend from Moore, wrote a review for Lost Girls. He considered the work as "remarkable, as good as Moore has done in his career". He pointed out, however, that "if it failed for me, it was only as smut; the book, at least in large black and white photocopy form, was not a one-handed read. It was too heady, dense and strange to appreciate or to experience on a visceral level."

http://journal.neilgaiman.com/2006/06/lost-girls-redux.html

Child sexuality
Lost Girls has come under fire from critics who have argued that the book's controversial sexual content involving children might open up stores that carry the book and people who buy the book to be charged with possession and/or trafficking in child pornography. Many retailers have stated that they will not stock the book out of fear of possible obscenity prosecution, though some said they might make the book available to their customers via special order and simply not stock the book.[2]

In the United States prosecution for production or sale of "obscene" material would require failing the Miller test. Although child pornography is classified as obscene, that requires the involvement of a child in its production,[3] which the book did not include. The legal situation in other countries is less clear: some countries forbid any images of nude children in a sexual context, regardless of how they were produced. French publisher Delcourt temporarily suspended their plans to publish a translated edition in 2008, citing concerns about the legality of the depictions of minors under French law.

Copyright status
On June 23, 2006, officials for Great Ormond Street Hospital – which was given the copyright to Peter Pan by J. M. Barrie in 1929 – asserted that Moore would need their permission to publish the book in the UK (and by implication, elsewhere in the EU). Moore indicated that he would not be seeking their licence, claiming that he hadn't expected his work to be "banned" and that the hospital only holds the rights to performances of the original play, not to the individual characters.[4] On October 11, 2006, Top Shelf signed an agreement with GOSH that did not concede copyright infringement, but delayed publication of Lost Girls in the UK until after the copyright lapsed at the end of 2007.[5]