At the beginning of the book, Vogel states: "The letter F appearing after a film title denotes that this is a feature film".
This is from the entry of Otto Muehl's notorious Sodoma
(16 minutes). I've shortened the text a bit. Note the letter F. Please also note that Vogel writes about Scheiss-Kerl
- and overall seem to view Sodoma
as a collection of Muehl shorts, where he consideres Scheiss-Kerl
to be an episode from Sodoma
(Otto Muehl, Austria, 1970) (F)
A scene from Otto Mueh's "happenings"
evokes, in its sado-masochist horror and defilement,the evil memories
(if not present realities) of a civilization of concentration camps and genocide.
Muehl's films -- of which Sodoma is the most famous --
are based on his notorious "Materialaktionen"; live
happenings, involving nude protagonists in real and
extravagant acts of sexual violence and defilement.
Muehl cannot be understood except as the product of
a continent that experienced within half a century two
world wars and the crushing trauma of Nazism; there is a
stench of concentration camps, collective guilt, unbridled
aggression, hallucinatory violence that -- however relevatory --
has the dimensions of an atavistic generalized myth of evil.
If these are works of defilement -- as they surely are -- they
reflect a society of defilement; they capture its essence by
means of harrowing violence and perverse sexuality. To
Muehl, the only way to exorcise this cruelty is by recreaing
it in the protected environment of theatrical space,
cruelly confronting the spectator not with fraudulent,
fictionalized simulations but with the act itself.
The "documentary" action recorded in Sodoma includes
fucking, fellation, masturbation, urination, the tying or
stringing up of participants (particularly women), the
insertion of various fluids or objects into vaginas, pumps
attached to penises; a complete demystification of sex
and its portrayal as a purely physiological, bodily act.
Most shocking is the "Scheisskerl" ("Shit-Ass") episode
(co-authored by Hanel Koeck), for here Muehl goes beyond
hardcore sex (no longer so daring nowadays) and enters
into the still forbidden realms of coprophilia. ("This film is
dedicated to shit eaters.") As one nude woman administers
an enema to another, a man lying beneath her waits, with
open mouth; not for long. Gagging under the sudden riches,
his nude body is lovingly smeared by the second woman
who then fellates, masturbates, and fucks him until he
lies in utter exhaustion, an inert, motionless object.
There is even a picture from Scheiss-Kerl
later on (page 253, original 1974 version of the book) with the following accompanying text:
A woman administers an enema to
another in preparation for an act
of coprophilia involving Otto Muehl.
As in all of Muehl's "Materialaktionen",
the artist participates as accomplice in the
horrors and gruesome delights he portrays.
('Shit-Ass' episode in Otto Muehl's Sodoma,
co-authored by Hanel Koeck, Austria 1968-70).
is however not listed at the index of the book (this is in a sense logical since Sodoma
is a featured film according to Vogel where "Scheiss-Kerl episode" is included), but then again not all films included in the icm list are. Should Scheiss-Kerl
receive official list status?