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Doris Wishman

Early Life
Doris also worked as an actress in New York throughout the 1950, and for some time worked under Joseph Levine. +

She was widowed only five months after marriage. +

Filmography Overview
Her first films are called nudist camp films or Nudist romances.

which were often called roughies.

Her work in the 70-80’s where a mixture of several different genres, all in the soft core genre of exploitation, except

Nudist Films
Doris was familiar of the appeal and potential of nudist camp movies due to her acquaintances with Walter Bibo, whose film Garden of Eden gained notoriety due its influence of swaying censorship laws for filming nudity.

Doris Wishman had produced, directed and written more films in the nudist film genre than anyone else at the time, when she decided to switch gears.

Sexploitation: Roughies
When producing roughies, as these films were often called, Doris shot them on a handheld, a tactic used by experimental filmmakers, and exploitation filmmakers trying to cut down shooting costs.

Censorship at the time would allow very little, meaning Doris and other sexploitation directors used different tactics to portray eroticism and excitement, using melodrama, cutaway, soft core sex talk and suggestive nudity that just skirted under the law. This made Doris at odds with censorship law.

In this genre, Doris also used a different style of filmmaking were she would cut to objects or scenery not in the scene, similar to soviet montage.

Moya Luckett expresses that the cutaway style Doris used was possibly disrupt male gaze and incorporate a feminine gaze.

1965 The (Sex) Perils of Paulette was heavily censored by the New York Censor Board.

Anti-Obscenity law at the time greatly limited the circulation of Doris Wishman and other sexploitation directors work.

Pornographic and Later Work
With the collapse of censorship law, demand for nudity in film rose, impacting Doris film direction. Hardcore was now available and explicate sex could be filmed, which Doris and many sexploitation directors considered distasteful. She shot everything using soft core method.

In 1968 she released The Hot Month in August and Passion Fever, two already completed Greek films, which Doris bought and added minimal original add ons, like voiceover.

Keyholes are for Peeping aka Is There Love After Marriage?

In these later works, the films take a bloody and grotesque turn, and is sometimes referred to as her cinema of somatic portrayal, due to heavy themes of the body betraying itself.

(Let Me Die a Woman) It was one of the first films to focus on transsexualism and to star transsexuals. The events in the movie were depictions of real events, according to Dr. Leo Wollman.

Later Life and Final Films
When she returned in 2001 she started work on two projects. One was a sex comedy called Dildo Heaven, released in 2002. The other was Each Time I Kill which had cameos from John Waters, Linnea Quigley, and Fred Schnider, the singer of the B52’s.

Legacy
Wishman had made more films than any other female director, during the sound era.

She was also the only female directing sexploitation in her time