Vintage HEBREW POSTER Israel YOUNG LADY CHATTERLEY Erotica FILM Sex D.H.LAWRENCE

Description

DESCRIPTION
:
Here for sale is an ORIGINAL beautifuly illustrated colorful ISRAELI Theatre FILM POSTER .  The theatre poster from the American movie : " YOUNG LADY CHATTERLEY " .
The poster was issued in 1977  by the Israeli distributers of the film for its ISRAELI PREMIERE - RELEASE . Kindly note : This is an ISRAELI MADE poster - Designed , Printed and distributed only in Israel
. Extremely archaic Hebrew text. The distributors didn't hesitate to define the FILM as " An INNOVATIVE version to the FAMOUS BOOK of
D.H.LAWRENCE.
The COLORFUL poster is in very good condition. Printed on thin paper. Size around 28" x 20" ( Not accurate ). Very good condition. Used.  Folding signs. ( Please watch the scan for a reliable AS IS scan ) . Poster will be sent rolled in a special protective rigid sealed tube.
AUTHENTICITY
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This poster is an ORIGINAL vintage Israel-Hebrew-Jewish 1977 theatre FILM - MOVIE poster , NOT a reproduction or a reprint  , It holds a life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.
PAYMENTS
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Payment method accepted : Paypal
& All credit cards
.
SHIPPMENT
:
Shipp worldwide via registered airmail is $ 25 . Poster will be sent rolled in a special protective rigid sealed tube.
Will be sent around 5 days after payment .
Young Lady Chatterley is an American 1977 softcore pornographic film directed by Alan Roberts and starring Harlee McBride, Peter Ratray, and Lawrence Montaigne.[1] The film was followed by a sequel in 1985, Young Lady Chatterley II.[1] Contents 1 Premise 2 Cast 3 References 4 External links Premise[edit] Cynthia Chatterley, the niece of Lady Chatterley, inherits her estate. There, she finds her diary and learns that she had an affair with her gardener. Inspired by this revelation, the betrothed Cynthia decides to have affair with her own gardener. Cast[edit] Harlee McBride as Cynthia Chatterley Peter Ratray as Paul the gardener William Beckley as Phillip, Cynthia's fiancé Mary Forbes as Frances Chatterley Ann Michelle as Gwen Lawrence Montaigne as Carl, the chauffeur  ******Lady Chatterley's Lover is the last novel by English author D. H. Lawrence, which was first published privately in 1928, in Italy, and in 1929, in France.[2] An unexpurgated edition was not published openly in the United Kingdom until 1960, when it was the subject of a watershed obscenity trial against the publisher Penguin Books, which won the case and quickly sold three million copies.[2] The book was also banned for obscenity in the United States, Canada, Australia, India and Japan. The book soon became notorious for its story of the physical (and emotional) relationship between a working-class man and an upper-class woman, its explicit descriptions of sex and its use of then-unprintable four-letter words. The trial was overseen by Richard Hoggart. Contents 1 Background 2 Plot 3 Themes 3.1 Mind and body 3.2 Class 3.3 Industrialisation and nature 4 Censorship 4.1 British obscenity trial 4.2 Australia 4.3 Canada 4.4 United States 4.5 Japan 4.6 India 5 Cultural influence 6 Bibliography 6.1 Editions 6.2 Further reading 7 Adaptations 7.1 Books 7.2 Film and television 7.3 Radio 7.4 Theatre 8 Parody 9 See also 10 References 11 External links Background[edit] The story is said to have originated from certain events in Lawrence's own unhappy domestic life, and he took inspiration for the settings of the book from Nottinghamshire, where he grew up. According to some critics, the fling of Lady Ottoline Morrell with "Tiger", a young stonemason who came to carve plinths for her garden statues, also influenced the story.[3] Lawrence, who had once considered calling the novel John Thomas and Lady Jane in reference to the male and the female sex organs, made significant alterations to the text and story in the process of its composition.[4] Lawrence allegedly read the manuscript of Maurice by E. M. Forster, which was published posthumously in 1971. That novel, although it is about a homosexual couple, also involves a gamekeeper becoming the lover of a member of the upper classes and influenced Lady Chatterley's Lover.[5][6] Plot[edit] The story concerns a young married woman, the former Constance Reid (Lady Chatterley), whose upper-class Baronet husband, Sir Clifford Chatterley, described as a handsome, well-built man, is paralysed from the waist down because of a Great War injury. His wife has an affair with the gamekeeper, Oliver Mellors. The class difference between the couple highlights a major motif of the novel. The central theme is Constance's realisation that she cannot live with the mind alone. That realisation stems from a heightened sexual experience that Constance has felt only with Mellors, suggesting that love can happen with only the element of the body, not just the mind. Themes[edit] In Lady Chatterley's Lover, Lawrence comes full circle to argue once again for individual regeneration, which can be found only through the relationship between man and woman (and, he asserts sometimes, man and man). Love and personal relationships are the threads that bind this novel together. Lawrence explores a wide range of different types of relationships. The reader sees the brutal, bullying relationship between Mellors and his wife, Bertha, who punishes him by preventing his pleasure. There is Tommy Dukes, who has no relationship because he cannot find a woman whom he respects intellectually and meanwhile finds desirable. There is also the perverse, maternal relationship that ultimately develops between Clifford and Mrs. Bolton, his caring nurse, after Constance has left. Mind and body[edit] Richard Hoggart argues that the main subject of Lady Chatterley's Lover is not the sexual passages, which were the subject of such debate, but the search for integrity and wholeness.[7] Key to this integrity is cohesion between the mind and the body for "body without mind is brutish; mind without body... is a running away from our double being".[8] Lady Chatterley's Lover focuses on the incoherence of living a life that is "all mind", which Lawrence saw as particularly true among the young members of the aristocratic classes, as in his description of Constance's and her sister Hilda's "tentative love-affairs" in their youth: So they had given the gift of themselves, each to the youth with whom she had the most subtle and intimate arguments. The arguments, the discussions were the great thing: the love-making and connection were only sort of primitive reversion and a bit of an anti-climax.[9] The contrast between mind and body can be seen in the dissatisfaction each has with their previous relationships. Constance's lack of intimacy with her husband, who is "all mind", and Mellors's choice to live apart from his wife because of her "brutish" sexual nature.[10] The dissatisfactions lead them into a relationship that builds very slowly and is based upon tenderness, physical passion and mutual respect. As the relationship between Lady Chatterley and Mellors develops, they learn more about the interrelation of the mind and the body. She learns that sex is more than a shameful and disappointing act, and he learns about the spiritual challenges that come from physical love. Jenny Turner maintained in The Sexual Imagination from Acker to Zola: A Feminist Companion (1993) that the publication of Lady Chatterley's Lover broke "the taboo on explicit representations of sexual acts in British and North American literature". She described the novel as "a book of great libertarian energy and heteroerotic beauty".[11] Class[edit] Lady Chatterley's Lover also presents some views on the early-20th-century British social context. That is most evidently seen in the plot on the affair of an aristocratic woman (Connie) with a working-class man (Mellors). That is heightened when Mellors adopts the local broad Derbyshire dialect, something he can slip into and out of. The critic and writer Mark Schorer writes of the forbidden love of a woman of relatively superior social situation who is drawn to an "outsider", a man of a lower social rank or a foreigner. He considers that to be a familiar construction in Lawrence's works in which the woman either resists her impulse or yields to it.[12] Schorer believes that the two possibilities were embodied, respectively, in the situation into which Lawrence was born and that into which Lawrence married, which becomes a favourite topic in his work. There is a clear class divide between the inhabitants of Wragby and Tevershall that is bridged by the nurse Mrs Bolton. Clifford is more self assured in his position, but Connie is often thrown when the villagers treat her as a Lady like when she has tea in the village. This is often made explicit in the narration such as here: Clifford Chatterley was more upper class than Connie. Connie was well-to-do intelligentsia, but he was aristocracy. Not the big sort, but still it. His father was a baronet, and his mother had been a viscount's daughter.[13] There are also signs of dissatisfaction and resentment from the Tevershall coal pit colliers, whose fortunes are in decline, against Clifford, who owns the mines. Involved with hard, dangerous and health-threatening employment, the unionised and self-supporting pit-village communities in Britain have been home to more pervasive class barriers than has been the case in other industries (for an example, see chapter 2 of The Road to Wigan Pier by George Orwell.) They were also centres of widespread Nonconformism (Non-Anglican Protestantism), which hold proscriptive views on sexual sins such as adultery. References to the concepts of anarchism, socialism, communism and capitalism permeate the book. Union strikes were also a constant preoccupation in Wragby Hall. Coal mining is a recurrent and familiar theme in Lawrence's life and writing because of his background, and it is prominent also in Sons and Lovers and Women in Love and short stories such as Odour of Chrysanthemums. Industrialisation and nature[edit] As in much of the rest of Lawrence's fiction, a key theme is the contrast between the vitality of nature and the mechanised monotony of mining and industrialism. Clifford wants to reinvigorate the mines with new technology and is out of touch with the natural world.[14] In contrast, Connie often appreciates the beauty of nature and sees the ugliness of the mines in Uthwaite. Her heightened sensual appreciation applies to both nature and her sexual relationship with Mellors.***** David Herbert Lawrence (11 September 1885 – 2 March 1930) was an English writer, novelist, poet and essayist. His works reflect on modernity, industrialization, sexuality, emotional health, vitality, spontaneity and instinct. His best known novels—Sons and Lovers, The Rainbow, Women in Love, and Lady Chatterley's Lover—notably concerned gay and lesbian relationships, and were the subject of censorship trials. Lawrence's opinions and artistic preferences earned him many enemies, and he endured persecution and misrepresentation of his creative work throughout the second half of his life, much of which he spent in a voluntary exile, four years of which he described as a "savage enough pilgrimage".[1] At the time of his death, his public reputation was that of a pornographer who had wasted his considerable talents. However, English novelist and critic E. M. Forster, in an obituary notice, challenged this widely held view, describing him as "the greatest imaginative novelist of our generation."[2] Later, English literary critic F. R. Leavis also championed both his artistic integrity and his moral seriousness.      ebay5814