Goona-goona epic

'Goona-goona epic' refers to a particular type of native-culture exploitation film set in remote parts of the Far East, Southeast Asia, Africa, South America, and the South Pacific. These include documentaries (often of questionable authenticity) and dramas, both of which rely heavily on travelogue and stock footage scenes (and sometimes fabricated scenes) of semi-nude native peoples performing exotic rituals and customs.

In Hollywood trade magazines "goona-goona" was a descriptive word for films or photos showing women of color with bare breasts,[1] usually in a supposed spirit of ethnographic interest like National Geographic.

The word goona-goona comes from the 1932 film Goona-Goona, An Authentic Melodrama of the Island of Bali by Andre Roosevelt and Armand Denis.[2] Supposedly "goona-goona" is an aphrodisiac or "love powder" made from a narcotic plant. In Indonesian, the word actually means a type of evil magic[3] or a love spell cast upon an unwilling victim.[4]

The word is used rarely today to mean sexually charged feelings or situations.


See also


  1. ^ Fatimah Tobing Rony, The third eye: race, cinema, and ethnographic spectacle, p. 145 et seq.
  2. ^ Goona-Goona, An Authentic Melodrama of the Island of Bali website describing the film.
  3. ^ Rony, p. 148.
  4. ^ Unni Wikan, Managing Turbulent Hearts, A Balinese Formula for Living (University of Chicago Press, 1990).
  5. ^
Acid Western

Acid Western is a subgenre of the Western film that emerged in the 1960s and 1970s that combines the metaphorical ambitions of critically acclaimed Westerns, such as Shane and The Searchers, with the excesses of the Spaghetti Westerns and the outlook of the counterculture of the 1960s. Acid Westerns subvert many of the conventions of earlier Westerns to "conjure up a crazed version of autodestructive white America at its most solipsistic, hankering after its own lost origins".

Africa Speaks!

Africa Speaks! is a 1930 American documentary film directed by Walter Futter and narrated by Lowell Thomas. It is an exploitation film.

Legong (film)

Legong: Dance of the Virgins is a 1935 film, one of the last feature films shot using the two-color Technicolor process, and one of the last silent films shot in Hollywood.

List of apocalyptic films

This is a list of apocalyptic feature-length films. All films within this list feature either the end of the world, a prelude to such an end (such as a world taken over by a viral infection), and/or a post-apocalyptic setting.

Love Island (1952 film)

Love Island is a 1952 American film directed by Bud Pollard starring Paul Valentine and Eva Gabor. Originally released in Cinecolor, the film uses extensive footage taken in Bali used from the film Legong: Dance of the Virgins (1935). It was the final directorial effort of Bud Pollard who had previously directed several race films and exploitation films.

Meat pie Western

Meat pie Western, also known as Australian Western or kangaroo Western, is a broad genre of Western-style films or TV series set in the Australian outback or "the bush". Films about bushrangers (sometimes called bushranger films) are included in this genre. Some films categorised as meat-pie or Australian Westerns also fulfil the criteria for other genres, such as drama, revisionist Western, crime or thriller.

The term "meat pie Western" is a play on the term Spaghetti Western, used for Italian-made Westerns, relating in both cases to foods are regarded as national dishes.

Opera film

An opera film is a recording of an opera on film.

Romanian New Wave

The Romanian New Wave (Romanian: Noul val românesc) is a genre of realist and often minimalist films made in Romania since the mid-aughts, starting with two award-winning shorts by two Romanian directors, namely Cristi Puiu's Cigarettes and Coffee, which won the Short Film Golden Bear at the 2004 Berlin International Film Festival, and Cătălin Mitulescu's Trafic, which won the Short Film Palme d'Or at the Cannes Film Festival later that same year.

Silent film

A silent film is a film with no synchronized recorded sound (and in particular, no audible dialogue). In silent films for entertainment, the plot may be conveyed by the use of title cards, written indications of the plot and key dialogue lines. The idea of combining motion pictures with recorded sound is nearly as old as film itself, but because of the technical challenges involved, the introduction of synchronized dialogue became practical only in the late 1920s with the perfection of the Audion amplifier tube and the advent of the Vitaphone system. The term "silent film" is a misnomer, as these films were almost always accompanied by live sounds. During the silent-film era that existed from the mid-1890s to the late 1920s, a pianist, theater organist—or even, in large cities, a small orchestra—would often play music to accompany the films. Pianists and organists would play either from sheet music, or improvisation. Sometimes a person would even narrate the intertitle cards for the audience. Though at the time the technology to synchronize sound with the video did not exist, music was seen as an essential part of the viewing experience.

The term silent film is a retronym—a term created to retroactively distinguish something. Early sound films, starting with The Jazz Singer in 1927, were variously referred to as the "talkies," "sound films," or "talking pictures." Within a decade, the widespread production of silent films for popular entertainment had ceased, and the industry had moved fully into the sound era, in which movies were accompanied by synchronized sound recordings of spoken dialogue, music and sound effects.

Most early motion pictures are considered lost because the nitrate film used in that era was extremely unstable and flammable. Additionally, many films were deliberately destroyed because they had little value in the era before home video. It has often been claimed that around 75 percent of silent films have been lost, though these estimates may be inaccurate due to a lack of numerical data.

Walter Futter

Walter Futter (January 2, 1900 – March 3, 1958) was a film producer and director in the United States. After an initial career cutting and editing films, Futter began writing and producing his own shorts and movies, often using footage he acquired. He had success with Africa Speaks!, a popular movie, which combined Paul L. Hoefler's footage filmed in the field, staged scenes filmed in Los Angeles, and narration by Lowell Thomas. He produced more than 250 short films, including series of shorts entitled Walter Futter's Traveloques and Walter Futter's Curiosities. Hoot Gibson starred in a number of his western films. Another of his more than 50 longer films was Jericho, also called Dark Sands.

Wild Man of Borneo

Wild Man of Borneo or Wild Man from Borneo may refer to:


Dayak people, indigenous people of Borneo

Oofty Goofty or Wild Man of Borneo, real name Leon Borchardt (1862–1923 or later), German-born sideshow performer in the United States

Wild Men of Borneo, Waino and Plutanor, real names Hiram W. Davis (1825–1905) and Barney Davis (1827–1912), American dwarf brothers and freak show performers

Nickname for Jimi Hendrix (1942–70), American rock musicianAnimals

Wild Man From Borneo, racehorse that won the 1895 Grand National

Bornean orangutan, primate species

batutut, hominid cryptid reputed to inhabit BorneoFiction

The Wild Man of Borneo (film), 1941 American comedy film

"Wild Man from Borneo", fictional freakshow in The Kid from Borneo, a 1933 short comedy film

“Wild Man from Borneo”, a song by country singer Kinky Friedman

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