ABSTRACT
This chapter suggests a camp materialist approach to Female Outlaw Trash Film that allows tracing its critical feminist potential independently from the gender identity of its auteurs. In general, Female Outlaw Trash Film has met with mixed reactions from various feminist discourses on popular film and media. Within exploitation aficionado circles, feminism-positive reviewers like Annie Choi and Wallid H. Fielding treated the unearthing of Meredith Lucas as a substantial discovery, since the trash film canon knows precious few female directors. Discussing the work of Jack Smith, Juliane Rebentisch introduces the notion of camp materialism in which she makes a strong case for taking the material excesses of camp seriously as a queer political strategy. The dirty sound of Blood Orgy of the Leather Girls realizes such a camp materialist sensibility of belonging, but not possessing, on a very manifest level. Blood Orgy's overall dirty sound builds up from multiple layers of noise.
