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Joe D'Amato

Aristide Massaccesi (15 December 1936 – 23 January 1999), known professionally as Joe D'Amato, was an Italian film director, producer, cinematographer, and screenwriter who worked in many genres (westerns, decamerotici, peplum, war films, swashbuckler, comedy, fantasy, postapocalyptic film, and erotic thriller) but is best known for his horror, erotic and adult films.

D'Amato worked in the 1950s as electric and set photographer, in the 1960s as camera operator, and from 1969 onwards as cinematographer. Starting in 1972, he directed and co-directed around 200 films under numerous pseudonyms, regularly acting as cinematographer as well. Starting in the early 1980s, D'Amato produced many of his own and other directors' genre films through the companies he founded or co-founded, the best known being Filmirage. From 1979 to 1982 and from 1993 to 1999, D'Amato also produced and directed about 120 adult films.

Among his best known erotic films are his five entries into the Black Emanuelle series of films starring Laura Gemser (1976–1978) and his horror/pornography crossover films Erotic Nights of the Living Dead and Porno Holocaust (both shot in Santo Domingo in 1979). In the horror genre, he is above all remembered for his films Beyond the Darkness (1979) and Antropophagus (1980), which have gained cult status, as well as Absurd (1981).

Early life and work (1936–1969)
Joe D'Amato was born on 15 December 1936 in Rome, Italy. His father was Renato Massaccesi, who after an incident on a ship had been declared a war invalid and had started to work at the Istituto Luce in Rome first as electrician, fixing power generators left by the United States army at Cinecittà, and then as chief photographic technician. In 1950, at the age of 14, D'Amato joined his father at work together with his brothers Carlo and Fernando (called Nando). Being the most enterprising of the three sons, D'Amato took on the task of delivering the movie cameras his father sold. D'Amato also assisted in the dubbing of Italian film productions and designed title and end credits with Eugenio Bava, cutting the letters out by hand. In 1952, D'Amato worked as a still photographer on the set of The Golden Coach, later as electric. In the 1960s, D'Amato eventually moved on to work as a camera operator on numerous films including Mario Bava's Hercules in the Haunted World.

First work as cinematographer and director (1969–1975)
In 1969, Piero Livi's Pelle di bandito and Silvio Amadio's No Man's Island (Italian: L'Isola delle Svedesi) were D'Amato's first films as cinematographer. In the next few years, D'Amato continued to work as cinematographer on Italian productions such as Umberto Lenzi's A Quiet Place to Kill, Massimo Dallamano's What Have You Done to Solange? and some of Demofilo Fidani's low-budget Spaghetti Westerns.

D'Amato took on the role of director for the first time in 1972. He started out with a number of small western films (Go Away! Trinity Has Arrived in Eldorado and A Bounty Killer in Trinity) and decamerotici (More Sexy Canterbury Tales and Novelle licenziose di vergini vogliose) which he partly directed, partly co-directed before going on to direct the gothic horror film Death Smiles on a Murderer (1973) and the war film Heroes in Hell (1974), both starring Klaus Kinski. D'Amato briefly relinquished directing and reverted to cinematography in films such as Luigi Batzella's The Devil's Wedding Night, Steve Carver's The Arena and five films directed by Alberto De Martino: Crime Boss, The Killer Is on the Phone, Counselor at Crime, The Antichrist, and – two years later – Strange Shadows in an Empty Room. When D'Amato was in Canada shooting a sleigh ride sequence for Lucio Fulci's Challenge to White Fang, the film's producer Ermanno Donati asked him to stay and direct the adventure film Red Coats for him, in which D'Amato used the pseudonym "Joe D'Amato" for the first time. It turned a good profit, and D'Amato later considered it his best film in this period.

First films with Laura Gemser and the Black Emanuelle series (1975–1977)
D'Amato's next film Emanuelle's Revenge (1975), which he co-directed with Bruno Mattei (who remains uncredited because D'Amato was a "rising name"), was one of several films at the time whose titles alluded to the successful French erotic film Emmanuelle (1974). In retrospect, it was a kind of turning point in D'Amato's career, being his first pornographic film – though still softcore.

In his next film, the commedia sexy Voto di castità (1976, scripted by George Eastman), D'Amato met Laura Gemser, who would star in many of his films and in the 1980s and early 1990s would also regularly work as costume designer for his productions. In this first film, she only played the small part of a French maid, but it was during the shoot that D'Amato got the idea to use her as star in his next film.

Eva nera was the exotic erotic drama which D'Amato directed starring Gemser as topless snake dancer alongside Jack Palance and Gabriele Tinti – her future husband. The film was produced by Harry Alan Towers and Lucio Fulcisano and shot both on location in Hong Kong and at the Elios Studios near Rome.

Gemser, who had previously starred in Bitto Albertini's Black Emanuelle (1975), went on to shoot the following five films of the Black Emanuelle series under D'Amato's direction. (Albertini, on the other hand, had to find a new actress for his own Black Emanuelle 2 (1976) – a sequel only in name.) Although the main character's name in the Black Emanuelle series alluded to the original French Emmanuelle, it was spelled slightly differently in order to avoid a plagiarism lawsuit. Also, the character itself is different: Black Emanuelle is an international reporter and photographer who travels to exotic locations. D'Amato added some violence and horror to the series such as the fake snuff film footage in Emanuelle in America, a gang rape scene in Emanuelle Around the World (1977), and gore scenes in the cannibal film Emanuelle and the Last Cannibals. As D'Amato later remembered, this "was a very good period in my life. Movie business was very good. We travelled round the world, finding new and fascinating locations for our movies."

The Caribbean phase (1978–1979)
Of the 12 films D'Amato directed in 1978 and 1979, 9 were shot in the Dominican Republic. In a 1982 interview, he said that once the trip was paid for, the costs were low and the setting suggestive ("the Caribbean... all for free"; Italian: "i Caraibi... tutto gratis").

The first time D'Amato went to Santo Domingo was in May 1978 for the erotic horror film Papaya, Love Goddess of the Cannibals. He returned there in September to shoot the mercenaries-at-war film Tough to Kill.

In mid-October 1978, back in Italy, D'Amato started shooting the nunsploitation film Images in a Convent, and in early 1979, which was to become a particularly productive year, he directed the violent erotic thriller Il porno shop della settima strada (The Pleasure Shop on Seventh Avenue ) on location in New York, both films produced by Franco Gaudenzi's company Kristal Film. From late June to early July 1979, D'Amato went to South Tyrol to shoot and direct the horror film Buio Omega starring Kieran Canter and Cinzia Monreale, a remake of Mino Guerrini's The Third Eye produced by Dario Rossetti and Ermanno Donati with music by Goblin.

Immediately afterwards, D'Amato went back to Santo Domingo to film Paradiso blu, an Italian counterpart to The Blue Lagoon starring Anna Bergman and Lucia Ramirez, and the voodoo-themed Orgasmo nero (Sex and Black Magic) starring Ramirez, Susan Scott and Richard Harrison, before directing two films combining hardcore pornography and horror – Porno Holocaust and Le notti erotiche dei morti viventi (Erotic Nights of the Living Dead) – as well as three adult thrillers: Hard Sensation, Porno Esotic Love and Sesso Nero. For Porno Esotic Love, D'Amato reused material from Eva nera (1976), especially those scenes D'Amato had shot with Laura Gemser in Hong Kong. (Eva nera had done very poorly at the Italian box office and therefore was still relatively unknown.)

First work as producer (1979–1982)
The voodoo-themed Sesso nero, written by George Eastman, was the last film D'Amato shot in the Caribbean, at the end of 1979, and the first film D'Amato produced on his own, through his newly founded company, P.C.M. (Produzioni Cinematografiche Massaccesi). Of the Caribbean group of films it received the earliest theatrical release – the films only being released gradually throughout 1980 and 1981.

After his return from the Caribbean, D'Amato also co-founded Filmirage and used the companies to produce and direct the gore film Antropophagus (1980, produced through P.C.M. and Filmirage) and its follow-up, the slasher film Absurd (1981, co-produced by Filmirage and Metaxa), both of which starred George Eastman and later became cult films for fans of extreme cinema.

D'Amato also founded and co-founded two further production companies "Cinema 80" and "M.A.D." (an acronym for [Aristide] Massaccesi, Alessandroni, and [Donatella] Donati) on 15 January 1980 and 9 January 1981, respectively. For M.A.D., Alessandroni, an engineer, provided the funding, while his son acted as producer on set. Donatella Donati, the daughter of Ermanno Donati, became D'Amato's assistant and constant collaborator, usually acting as production secretary and assistant director.

The two companies were the main vehicles for D'Amato's film production of this period. From 1980 until 1982, D'Amato produced 14 hardcore pornographic films through both companies (Cinema 80: 9 films, M.A.D.: 5), 10 of which he directed and lensed himself, while 3 of the films (Blue erotic climax, Labbra vogliose and Le porno investigatrici) were directed by Claudio Bernabei. Officially, Bernabei was both executive manager and director, his pseudonym Alexander (or Alexandre) Borsky being used for almost all directorial credits although the films were for the most part directed by D'Amato personally, who was only given credit in the non-committal phrase "a Joe D'Amato film" (un film di Joe D'Amato) used for marketing purposes. The reason for this lay in avoiding one of two criminal charges per film since the state only charged the executive manager of the company and the director; them being the same person, only one charge was brought forth. One notable exception was Porno video (1981; sometimes: Pornovideo), which was directed entirely by Giuliana Gamba (under the pseudonym Therese Dunn); it was the first film D'Amato produced for another director – a practice he would start expanding six years later in his Filmirage period. Il succo del sesso (1982; a punning title which can mean both "The Essence of Sex" and "The Juice of Sex") was the only film of this period that was directed but not produced by D'Amato, being a "Promo Film" production of Giovanni Perrucci's.

The average Cinema 80 or M.A.D. film cost 55 million lire, was shot in 10 days, edited over a period of two months, and had a generic title such as Super climax, Super hard love or Voglia di sesso (literally: Lust for Sex). A group of three films produced through Cinema 80 stands out. In 1981, building on Tinto Brass's Caligula (1979), D'Amato produced, shot and directed Caligula... The Untold Story in both a hardcore and a softcore version, starring David Brandon, Laura Gemser and Gabriele Tinti. It recounted the final days of the Roman Emperor Caligula and was followed by two purely hardcore pornographic films – Una vergine per l'impero romano and Messalina orgasmo imperiale – in which D'Amato reused sets and costumes from the first film, albeit on a significantly lower budget. The three films were signed by D'Amato as director under different pseudonyms and released separately in December 1982, May 1983 and July 1983. They have been called his "porno-peplum trilogy".

Messalina orgasmo imperiale (shot in 1982) also happened to be the last film of this period. Another hardcore film that D'Amato originally intended to shoot himself for producer Riccardo Billy in co-production with a Chinese company, Love in Hong Kong (1983, starring Mark Shannon and Marianne Aubert), ended up being entirely delegated to his assistant Bernabei for lack of time, who directed the film on location in Hong Kong. It survives only in a truncated softcore version.

The Filmirage years (1982–1993)
In 1980, D'Amato had taken over a company from producer Ermanno Donati. D'Amato had renamed the company to "Filmirage" and used it to produce his own and, from 1987 onwards, also other directors' films for the international market.

In 1982, D'Amato used Filmirage to produce, shoot and direct the first film of the Ator series: Ator l'invincibile (Ator, the Fighting Eagle) starring Miles O'Keeffe and Sabrina Siani, which was directly inspired by Conan the Barbarian. It was followed by Ator 2 - L'invincibile Orion (English titles: The Blade Master and Cave Dwellers) the following year, in which O'Keefe was flanked by Lisa Foster.

In 1983 and 1984, D'Amato produced and shot the post-apocalyptic action films Endgame (1983) starring Al Cliver, George Eastman, Laura Gemser and Gordon Mitchell, which D'Amato directed alone, and 2020 Texas Gladiators (1984) starring Al Cliver and Sabrina Siani, which D'Amato co-directed with George Eastman. The films follow the success of Mad Max (1979) and Mad Max 2 (1981).

In 1984 and early 1985, D'Amato briefly reactivated his company M.A.D. to produce 10 hardcore pornographic films, all of which were directed by Luca Damiano and starred Marina Hedman. D'Amato is reported to have collaborated on some of these himself as well, although it remains speculative in which function and on which ones. Later in 1985 D'Amato left hardcore pornography behind and for a period of eight years exclusively shot softcore and horror films. According to an interview D'Amato gave in 1990, hardcore, as opposed to softcore, had only been profitable the first four years in the late 1970s and early 1980s while the novelty and controversy lasted.

D'Amato began this hardcore-free period by directing four softcore dramas set during fascism in Italy and starring Lilli Carati and Laura Gemser: L'alcova (The Alcove), Il piacere (The Pleasure), Lussuria (A Lustful Mind), and Voglia di guardare (Midnight Gigolo). The four films recall the style and themes of Tinto Brass's La chiave (The Key) while their plots and characters are not interconnected in any way.

Together with Harry Alan Towers, D'Amato co-produced Warrior Queen (working title: Pompeii), shot in 1985 at the Elios Studios near Rome to cash in on the success of the miniseries The Last Days of Pompeii (1984). It was a sword-and-sandal film starring Sybil Danning, Donald Pleasence and David Brandon and was directed by Chuck Vincent. In an interview, Larry Revene, Vincent's usual cinematographer, remembered that he worked on the sync sound for this film instead, because "Aristide shot it. He wasn't only a director/producer, he was also a cameraman." In the United States, the film had a brief theatrical run in a cut R rated version before being released in a longer version on video.

There followed a phase in which D'Amato directed softcore films predominantly in the United States, often takes on popular American films. First, he went to New Orleans to produce and shoot two films starring Jessica Moore as the novelist Sarah Asproon: 11 Days, 11 Nights (1987) and Top Model (1988). 11 Days, 11 Nights was inspired by Adrian Lyne's film 9½ Weeks but reversed the roles with the woman being the dissolute character; it was a commercial success. In 1989, D'Amato's main actress was Valentine Demy with whom he produced and directed Afternoon and Dirty Love, the latter reminiscent of another of Adrian Lyne's films, Flashdance. After these, D'Amato produced and directed two erotic dramas with Tara Buckman: Blue Angel Cafe and High Finance Woman.

Beyond producing his own softcore films, D'Amato also used Filmirage to produce other directors' films: Michele Soavi's debut Stage Fright (which was also the debut of D'Amato's son Daniele Massaccesi as assistant cameraman), Deran Serafian's Interzone, Umberto Lenzi's Ghosthouse (La casa 3) and Hitcher In The Dark, Fabrizio Laurenti's Witchery (La casa 4) and The Crawlers (Troll 3), George Eastman's Metamorphosis, Claudio Fragasso's Troll 2 and Beyond Darkness (La casa 5), Franco Molé's The Room of Words, and Lucio Fulci's Door to Silence. D'Amato not only produced, but also partially directed the horror film Killing Birds and but for the first scene directed the sharksploitation drama Deep Blood.

At the beginning of the 1990s, D'Amato revisited his Ator series with a concluding entry entitled Quest for the Mighty Sword, featuring the Son of Ator. Then, he revived the character of Sarah Asproon in 11 Days, 11 Nights 2, this time played by Kristine Rose and again set in New Orleans. With Rose as protagonist, D'Amato also directed Passion's Flower, a remake of The Postman Always Rings Twice, before shooting two softcore films starring Carmen di Pietro in 1991, both with a more violent angle than the preceding ones: Devil in the Flesh follows a group of mercenaries who encounter some nurses at an isolated hospital, and Dangerous Obsession tells of a woman who turns the tables on her assailant. After these, D'Amato directed Frankenstein 2000 (1992), his last horror film, which combined a modern take on the traditional Frankenstein story with elements of the rape and revenge film.

In 1993, inspired by the success of the Chinese erotic comedy Sex and Zen (1991), D'Amato then went to the Philippines to shoot a number of Asian themed softcore films, for which he often used Chinese pseudonyms. Among them are such diverse films as Chinese Kamasutra, China and Sex and I racconti della camera rossa (translation: The Tales of the Red Chamber; named after China's classical novel Dream of the Red Chamber), the latter two structurally and thematically reminiscent of Italian decamerotici.

Later work and death (1993–1999)
Later in 1993, D'Amato went back to predominantly producing and directing hardcore pornography. In order to return to adult filmmaking more easily, D'Amato initially teamed up with Luca Damiano, with whom he shot roughly 20 films before continuing on his own. Although video had become the standard for adult films, D'Amato continued to shoot on 35mm film for a few years before finally transitioning to video for his last productions in 1997 and 1998 – a development which he saw critically: When shooting on video, there was little difference between the individual films in terms of profit, which helped minimise production risk, but the overall profit and hence the quality of the individual productions that were shot on video were lower compared to productions shot on film. The crew on an early 35mm shoot such as Juliet & Romeo had been much larger, including lighting staff, camera assistants, make-up artists, and set decorators; dubbing was done in post-production.

Among D'Amato's best known films from this late hardcore period are his collaborations with Rocco Siffredi (Tarzan X – Shame of Jane, Marco Polo, Marquis de Sade, Torero) and Kelly Trump (Messalina, Kamasutra, Lolita), his pornographic versions of Shakespearean drama (Juliet & Romeo, Anthony and Cleopatra, Othello 2000), westerns (Outlaws, Calamity Jane), swashbucklers (Raiders), the Bible (Sodom & Gamorra), Greco-Roman mythology (Olympus, Amor & Psyche, Ulysses, Hercules – A Sex Adventure), Roman emperors (Nero – Orgy of Fire, Caligula – The Deviant Emperor) and other famous people (Robin Hood, Goya, Amadeus Mozart, Thief of Love – Giacomo Casanova, Rudy – Valentino's story, Scarface). Two recurring actresses in his films from 1996 to 1999 were Selen (Raw & Naked, Queen of the Elephants, Sahara, and Selen the Girl from Treasure Island) and Éva Henger, with whom he shot the time travel films Experiences and Experiences 2, a trilogy on the capital sins, Phantom (using footage from the silent film The Phantom of the Opera), and Showgirl. Whereas D'Amato's adult films were very rarely without a plot entirely, D'Amato stated in a 1997 interview that one had used to include more plot whereas now the only thing they wanted was porn – and very hard one at that: "double, triple, quadruple penetrations, anal ...".

In between shooting adult films from 1994 to 1999, D'Amato also made efforts at returning to genre films, four of which came to fruition. In 1995, he directed the erotic drama Provocation set in the Italian countryside of the 1930s starring Erika Savastani, and in 1997 the erotic comedy Top Girl set in and around an American TV station and the erotic thriller The Hyena starring Cinzia Roccaforte, which received a limited theatrical release in Italy. In 1998, D'Amato directed the swashbuckler I predatori delle Antille (aka Sexy Pirates ), starring Anita Rinaldi.

On 23 January 1999, Joe D'Amato died of a heart attack in Monterotondo, a comune in the Metropolitan City of Rome Capital. According to Luigi Cozzi, his death happened unexpectedly while he was busy preparing a new film. His last film was the adult film Showgirl (1999), a take on Paul Verhoeven's Showgirls (1995).

Birthname
Throughout his career, D'Amato used his birthname Aristide Massaccesi only once for a directorial credit, namely for Death Smiles on a Murderer (1973). However, it was regularly used for other credits. For his first work as camera operator, it was the only name he was credited with, and as cinematographer, writer of stories and scriptwriter, he credited himself or was credited with it regularly until the early 1980s.

Pseudonyms
The first pseudonyms used by Aristide Massaccesi were his actor's credits in the Spaghetti Westerns Straniero... fatti il segno della croce! (1968) and Dead Men Don't Make Shadows (1970), for which he used puns on his birthname: Ariston Massachusetts and Arizona Massachusset, respectively.

His best known pseudonym is the anglicized Joe D'Amato, which he first adopted as director of Giubbe Rosse (1975). In 1991, D'Amato stated he had discovered the name in some calendar and chosen to use it because it sounded promising: in its mixture of American and Italian, it was similar to those of Brian de Palma and Martin Scorsese. Joe D'Amato became the name Massaccesi was most associated with, even more than his birth name. D'Amato used this main pseudonym of his exclusively for credits as producer and director and not for credits as cinematographer or writer.

The pseudonym Federiko Slonisko, sometimes also spelled Federico Slonisco or any mixture of these two spellings (including the short form Fred and several other mis- or variant spellings), was regularly used for D'Amato's work as cinematographer starting in 1982.

The pseudonyms Federico Slonisco Jr. and Dan Slonisko (including variant spellings) are also sometimes considered to belong to D'Amato. However, D'Amato's son Daniele, a camera operator and cinematographer, started his career working for his father.

The pseudonym Michael Wotruba was used as D'Amato's directorial credit on: This pseudonym is also to be found as directorial credit for Death Smiles on a Murderer (1973) in the entry at Public Cinematographic Register, but was later changed to D'Amato's birthname for the release.
 * Novelle licenziose di vergini vogliose (1973) – also screenplay
 * Pugni, pirati e karatè (1973)
 * Diario di una vergine romana (1973)
 * Heroes in Hell (1974) – also screenplay
 * The Arena (1974) – Italian version: director; international version: second unit director

David Hills was used by D'Amato as directorial pseudonym on the following films: David Hills was also used as directorial credit on an early announcement of Deep Blood (1989), but was exchanged by the allonym Raf Donato for the official release. As producer, D'Amato used this pseudonym on Troll 2 and Interzone.
 * Caligula... The Untold Story (1981) – also screenplay
 * Ator, the Fighting Eagle (1982)
 * Ator 2 - L'invincibile Orion (1983)
 * Quest for the Mighty Sword (1990)
 * Frankenstein 2000 (1991)
 * I predatori delle Antille (1998)

For the last two films of D'Amato's "porno-peplum trilogy", Una vergine per l'impero and Messalina orgasmo imperiale (both released 1983), D'Amato used Dirk Frey as cinematographer and Robert Hall and O.J. Clarke as director, respectively.

The directorial credit of Il succo del sesso (1983), which D'Amato directed, reads Gilbert Damiano - an allusion to Gerard Damiano.

The pseudonym Peter Newton was used for D'Amato's credit as cinematographer on Paradiso blu (1980) and his directorial credit on Absurd (1981). For the latter, he also used Richard Haller for his credits as cinematographer and co-producer. Kevin Mancuso was used for the directorial credit on 2020 Texas Gladiators (1982); D'Amato co-directed the film with George Eastman so it can be considered a pseudonym for both Eastman and D'Amato. D'Amato used the name Dario Donati as director and editor on Convent of Sinners (1986) and as director on Delizia (1986).

The female pseudonym Joan Russell was used for D'Amato's directorial credit on Una tenera storia (1992). It was also used not for D'Amato, but for Donatella Donati and Antonio Tentori as story and screenwriting credit in Frankenstein 2000 (1992), which D'Amato produced and directed.

For his oriental films of 1993, D'Amato used a number of new pseudo-oriental pseudonyms. For I racconti della camera rossa he used Robert Yip as director, Lim Seng Yee as scenarist and Boy Tan Bien as cinematographer. For Chinese kamasutra he signed with the pseudonyms Chang Lee Sun (director), Fu Shen (scenarist) and Hsu Hsien (cinematographer). And for Il labirinto dei sensi, he signed his scenario with Leslie Wong while using Joe D'Amato and Federico Slonsiko for the directorial and cinematographic credits respectively.

Allonyms
An allonym is distinguished from a pseudonym in that it is the given name or pseudonym of a different person from the one who should be credited.

Romano Gastaldi, the pseudonym of Romano Scandariato, was used for the directorial credit on More Sexy Canterbury Tales (1972), which D'Amato directed while Scandariato was his assistant director, and for Fra' Tazio da Velletri (1973), which D'Amato left after a disagreement soon after the beginning of the shoot; Scandariato, his assistant, finished the film and was credited.

Oskar Faradine, the pseudonym of Oscar Santaniello, was used for the directorial credit on A Bounty Killer in Trinity. The film was reportedly directed by D'Amato and Santaniello was the film's producer. Lupi, however, in his monograph on D'Amato argues on qualitative grounds for Santaniello as actual director.

Anna Bergman's name was also used for the directorial credit on Paradiso blu (1980). Bergman was the main actress, but D'Amato directed the film. Her name was used for the directorial credit because, according to Luigi Cozzi, the producer did not want it to be seen as an erotic film (for which D'Amato was already known at the time).

Alexandre Borsky, sometimes spelled Alexander or Borski, was the pseudonym of Claudio Bernabei. Bernabei stated in an interview that he created it with Walerian Borowczyk's name in mind. The Borsky pseudonym was used as directorial credit for 14 of the 15 films produced by D'Amato's companies M.A.D. and Cinema 80 from 1980 to 1982. Of these 14 films, Bernabei directed 3, D'Amato 11. In 1993 and 1994, D'Amato briefly reactivated this name as directorial credit for a small number of adult films starring Luana Borgia which he directed while transitioning from softcore to hardcore again. According to an interview he gave in 1995, it was to camouflage his return.

Lucky Faar (or Farr) Delly, sometimes wrongly listed as a pseudonym of Joe D'Amato, was in reality the pseudonym of Luciano Fardelli, who acted as administrator of D'Amato's production company M.A.D. in 1984 and 1985. It was used as directorial credit for 10 films directed by Franco Lo Cascio; it is unclear in which of these films D'Amato acted as co-director.

Raf Donato, a variant of Raffaele Donato's name, was used for the directorial credit on Deep Blood (1989). According to D'Amato, Donato had planned to direct the film, but only directed the first scene. D'Amato directed the rest of the film.

Personality
According to the actresses who worked with him, D'Amato was sociable, humorous with a sense of irony, amiable, and supportive; to some he appeared like a father. Both Laura Gemser, with whom he worked together for a long time, and Monica Zanchi pointed out his adventurous and playful approach to filmmaking.

Gemser also remembered that D'Amato rarely got angry, and that when it happened he usually took it with irony; when deeply angered, however, he would shout and curse and become insufferable. She also recalled that, much like herself, D'Amato fell asleep easily and anywhere, even in the breaks between rehearsals. Donatella Donati, his regular assistant since the mid-1970s, recalled this penchant as his biggest flaw; in Cannes, she once found him asleep on the office floor.

Screenings
In 1995, Joe D'Amato was a special guest at the London film festival "Eurofest" which took place at the Everyman Cinema, Hampstead, where he gave an onstage interview to Mark Ashworth inbetween screenings of Stage Fright, Emanuelle and the Last Cannibals, and Frankenstein 2000 – the latter a world premiere, followed by a signing session. Parts of the interview can be found on the Severin DVD release of Emanuelle in Bangkok.

Posthumously, on 14 April 2006, the Cinémathèque Française in Paris screened a D'Amato double feature from newly acquired theatrical prints under the title Le sang et la chair (translation: The Blood and the Flesh), consisting of Antropophagus and Le sexe noir (both 1980).

The Joe D'Amato Horror Festival, under the art direction of Paolo Ruffini, was held for the first time in Pietrasanta in April 2007. It took place a second time in October and November 2014 in Livorno, moderated by Antonio Tentori. Among the guests was D'Amato's son Daniele Massaccesi, who said that it had been above all the passion for cinema – to never stop making films at any costs – that D'Amato had wanted to pass on to the younger generation of filmmakers.

The "Hofbauer Kongress", which takes place at least once every year since 2010 at the Komm Kino in Nuremberg, Germany, has repeatedly screened D'Amato's films mostly from 35 mm prints, with the 15th and 16th edition of the festival being especially devoted to the filmmaker.

On 1–3 February 2019, honoring the 20th anniversary of D'Amato's death, the Filmarchiv Austria held a "Tribute to Joe D'Amato" at the Metro Kinokulturhaus in Vienna in which 10 films he directed were shown from original 35 mm prints.

Film tributes and dedications
In 1999, Andreas Schnaas shot a remake of, and homage to, D'Amato's Antropophagus entitled Anthropophagous 2000.

The Italian film Hyde's Secret Nightmare (2011, directed by Domiziano Cristopharo) is dedicated to D'Amato.

title: Joe D'Amato


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1967 Greater London Council election

The second election to the Greater London Council was held on 13 April 1967, and saw the first Conservative victory for a London-wide authority since 1931.

Electoral arrangements
New constituencies to be used for elections to Parliament and also for elections to the GLC had not yet been settled, so the London boroughs were used as multi-member 'first past the post' electoral areas. Westminster was joined with the City of London for this purpose. Each electoral area returned between 2 and 4 councillors.

General election of councillors
The Conservative Party won a majority of seats at the election.

With an electorate of 5,319,023 and 2,187,789 persons voting, there was a turnout of 41.1%.

Among those defeated in the election were the Labour leader, Bill Fiske in Havering by a Conservative team that included Jeffrey Archer, who was making his entrance into politics, and Peggy Jay in Wandsworth. Other notable politicians who had their first success at this election include Harvey Hinds (Labour, Southwark, later Chief Whip for Ken Livingstone) and Christopher Bland (Conservative, Lewisham, later Chairman of the BBC).

Aldermanic election
In addition to the 100 elected councillors, there were sixteen aldermen on the council. Eight aldermen elected in 1964 continued to serve until 1970 and the other eight retired before the 1967 election. Eight aldermen were elected by the council on 2 May 1967 to serve until 1973.

Aldermen elected in 1967, to retire in 1973:

The aldermen divided 10 Conservative and 6 Labour, so that the Conservatives had a total 92 members to 24 for Labour following the aldermanic election.

By-elections 1967-1970
One of the successful Conservative candidates, Sheila Bradley (Greenwich), was a school nurse for the Inner London Education Authority. It was discovered that this was a disqualifying office, as she was in effect an employee of the GLC (as ILEA was technically a committee of the GLC); she resigned on 24 May prior to the hearing of an election petition. At a by-election on 29 June, Labour gained the seat. There were two further by-elections during the term: on 7 November 1968 the Conservatives held a seat in Bromley after the death of a councillor, and on 12 December of the same year the Conservatives held a seat in Havering after one of their councillors resigned. There were two seats vacant by the end of the term. A Conservative councillor for Harrow died on 8 June 1969, and on 8 January 1970 a Conservative councillor for Hammersmith was disqualified after failing to attend a meeting of the GLC or its committees for six months.

There were two aldermanic by-elections caused by the resignation of Nelly Margaret Walton (Conservative) in 1968 and the death of Timothy James Bligh (Conservative) in 1969. Richard Maddock Brew (Conservative) was elected by the council on 8 October 1968, to serve until 1973. Maurice Stephenson (Conservative) was elected by the council on 29 April 1969, to serve until 1973.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: 1967 Greater London Council election


text:
Jean Rollin

Jean Michel Rollin Roth Le Gentil (3 November 1938 – 15 December 2010) was a French film director, actor, and novelist best known for his work in the fantastique genre.

Rollin's career, spanning over fifty years, featured early short films and his achievements with his first four vampire classics Le viol du vampire (1968), La vampire nue (1970), Le frisson des vampires (1970), and Requiem pour un vampire (1971). Rollin's subsequent notable works include La rose de fer (1973), Lèvres de sang (1975), Les raisins de la mort (1978), Fascination (1979), and La morte vivante (1982).

His films are noted for their exquisite, if mostly static, cinematography, off-kilter plot progression, poetic dialogue, playful surrealism and recurrent use of well-constructed female lead characters. Outlandish dénouements and abstruse visual symbols were trademarks. Belied by high production values and precise craftsmanship, his films were made with little money, often against deadlines. In the mid-1970s, lack of regular work led the director to direct mostly pornographic films under various pseudonyms, an activity he continued until the early 1980s.

Early life
Jean Rollin was born in Neuilly-sur-Seine (now Hauts-de-Seine), France, to Claude Louis René Rollin-Roth-Le Gentil, an actor and theatre director who went by the stage name Claude Martin, and his wife Denise (née Leffroi), an artists' model. His half-brother was actor Olivier Rollin.

Career
Rollin had a passion for cinema from an early age. He saw his first film during the second World War. It was Capitaine Fracasse, a 1942 film directed by Abel Gance. Rollin decided he wanted to make films when he grew up; his father, a theatre actor, was a heavy influence on him. During his teens, he developed an obsession for American serials and read comic books.

When he was 16, he found a job at Les Films de Saturne, helping write invoices while earning some money though he wanted to be involved in cinema. They specialized in creating opening and closing credits and short cartoons, but real films were also shot such as industrial shorts and documentaries. Rollin was part of the crew in a short documentary about Snecma, a big factory in France which built motors and planes. He arranged the tracking shots, laid the tracks, checked the electricity, and helped the cameraman.

When Rollin did his military service for the French army, he worked as an editor in the cinema department alongside Claude Lelouch. They worked on army commercials with Lelouch directing and Rollin editing. They also made two films, Mechanographie, a documentary, and La Guerre de Silence (The War of Silence), a real film with actors and a story.

In 1958 after leaving the army, he directed his first short film Les Amours Jaunes (The Yellow Lovers). He shot it on a 35mm Maurigraphe camera, and used a beach in Dieppe as his location, the same beach used in his later films.

1960s
In 1960, Rollin decided to direct his first feature film, but later abandoned the project as he had no money to finish it. His next short, Ciel de Cuivre (Sky of Copper), was directed in 1961, and was quite surreal though it told a sentimental story. He did not finish the film because he ran out of money and it was not very good. The footage is now lost.

In 1962, he was as an assistant director on the film Un Cheval pour Deux (A Horse for Two), which was not a great experience for him, and he decided to approach cinema in a different way. In the early sixties, Rollin became interested in politics and made a short documentary in 1964 called Vivre en Espagne (Life in Spain). It was about Generalissimo Francisco Franco, thirty minutes were filmed but he risked a lot to get it made. Rollin and the crew found themselves pursued by the police and just managed to make it back into France. Jean also directed a short film in 1965 called Les Pays Loins.

In 1968, Jean directed his first feature Le viol du vampire (The Rape of the Vampire). At the time he was still not known in the world of cinema, having only done a few short films and documentaries. The film was shot on a low budget, and consisted of two parts because it was originally intended to be another short film; the second part was later added so that it was released as a feature film. The release of Le Viol caused public scandal and outrage, his strong inspiration of American serials did not attract viewers. It was released during the events of May 1968, and due to the riots, it was a rare theatrical production at the time. Rollin himself was also threatened due to this scandal, because of this, he briefly decided to give up making films.

His second feature La vampire nue (The Nude Vampire) was his first film in colour. It was mostly inspired by the 1916 film Judex, and also surrealism in general. Rollin wanted to do something a little more temperate than Le Viol, a traditional mystery film. Anyway, as he himself stated, it came to be the same kind of film as his first feature, it also has the same spirit. La vampire nue also became notable in that it introduced Catherine and Marie-Pierre Castel, twin sisters who frequently collaborated with Rollin during the early years of his career.

Following La vampire nue, Rollin found himself in a financial crisis and having suffered an accident during production which left him traumatized, the circumstances took a positive turn when he met with producer Monique Nathan, owner of the Films Moderns company. Nathan having put her faith and support in Rollin, turned down several a number of the most prominent French New Wave filmmakers for financing and instead entirely supported Rollin as both a producer and a co-screenwriter for his next project, Le Frisson des Vampires (Shiver of the Vampires) which was heavily influenced by the trappings of the hippie movement. It did however retain many of the themes one could expect from a Rollin film and one of the most iconic scenes ever to appear in a Rollin film: actress Dominique emerging from an old grandfather clock. Production for the film took place in an abandoned castle in Soissons, a commune in the Aisne department of Picardy.

1970s
1971, Rollin directed Requiem pour un vampire (Requiem for a Vampire), which became one of his most successful films, and it was another low budget production, which almost took no money to produce. There was no dialogue in the first forty minutes of the film, this was in Rollin's words to make the "ultimate naive film", simplifying the story, direction and cinematography. Initially, Rollin had Catherine Castel in mind to play one of the leading ladies in Requiem; however, Castel was unable to accept the role due to being pregnant, which forced Rolling to offer the role to Maire-Pierre. The second female lead was portrayed by Mireille D'argent whom Rollin chose after she was introduced to him by an agent. Rollin discovered that D'argent's agent was collecting her wages, which prompted him to contact a lawyer and have her wages returned to her. Requiem was filmed in the small village of Crêvecoeur. The graveyard was located outside the village on a knoll. The castle, a historical place entirely furnished with genuine antiques, all of which were worth a fortune, had been rented from the duchess of Roche-Guyon. It wasn't her castle that Rollin and the crew were interested in, but the ruins of the dungeon above, that overlooked the entire area. Following this, Rollin made a temporary departure to creating films associated with the erotic vampire genre. Having risen to success during his early vampire era, Rollin embarked on a different approach to filmmaking. Rollin financed his 1973 film La rose de fer (The Iron Rose) himself and was convinced that it would become a failure, leading to financial ruin. Prior to production, he engaged in a deal with Impex films to direct a number of hardcore porn films in the near future in order to produce La rose de fer and ensure that it would not fail. The story follows two young lovers (Françoise Pascal and Hugues Quester) who meet at a wedding reception and agree to go on a date, for which they decide to take a walk in an enormous cemetery. As they make love in an underground tomb, strange and bizarre occurrences take place above ground. As night falls, they frantically try to escape from the cemetery, and with no luck, end up where they started. They are slowly overcome with hysteria and paranoia which brings about their mortality. The film was shot in the city of Amiens over a four-week period and premiered at the 2nd Annual Convention of the Fantastique in Paris in April 1973 and was initially met with a negative reception and as a result, Rollin was unable to find anyone to back his future personal projects.

Rollin directed the adult sex films Jeunes filles impudiques (Schoolgirl Hitchhikers), Le sourire vertical (The Vertical Smile), and Tout le monde il en a deux (Bacchanales sexuelles or Fly Me the French Way) under the pseudonym Michel Gentil as he was financially unable to come up with a budget for another mainstream feature film. However, in 1974 Rollin directed the horror adventure and self-proclaimed "Expressionist" film Les démoniaques which was inspired by the adventure classics he had enormous admiration for in his youth. The film includes Joëlle Cœur and Willy Braque whom Rollin worked with on Jeunes filles impudiques. The story follows two young women who have been involved in a shipwreck and are brutally raped and murdered by a group of rogue pirates, only to be resurrected after making love to the devil so that they can seek their revenge. Rollin had many disputes with the producers of the film during production of the project as they insisted on a low budget. He was hospitalized for two weeks following the work due to mental and physical exhaustion. Further problems would arise including the working title, Les diablesses, having to be changed as the copyright was not free of charge and with the Castel Twins being unavailable for the roles of the avenging ghosts, the parts where offered to inexperienced actresses Lieva Lone and Patricia Hermenier.

Rollin made a brief return to the erotic vampire genre in 1975 when he wrote and directed Lèvres de sang (Lips of Blood). The film includes all the surreal dreamlike aspects for which Rollin's films are known. The story follows a young man named Frederic who is on a quest to find a woman dressed in white following the discovery of a photo of a ruined château. The photo triggers a suppressed childhood memory, which may be a dream. Despite his mother trying to convince him that it was dream, Frederic becomes fixated and obsessed with location the castle and the woman that may be inside. Lèvres de sang features Jean-Loup Philippe, whom Rollin co-wrote the film with, Annie Belle, and Nathalie Perrey, whom Rollin had worked with frequently throughout his career as a credited actress, script writer and editor. The film also sees the return of the Castel Twins as part of a group of vampires.

Due to the commercial failures of both La rose de fer and Lèvres de sang, Rollin again had no choice but to direct another adult sex film for financial reasons as there was no possible way to produce a feature film for the foreseeable future. Phantasmes (Once Upon a Virgin) was written and directed by Rollin for release in 1975 and was the first and only pornographic film in which he was credited under his own name because he liked what he did in the film. Rollin mentioned that the film is his "first and final attempt at a serious" adult film, wanting to create a film that didn't just "poke fun at sex". The score for Phantasmes is considered one of the films best attributes, courtesy of composer Didier William Lepauw of Lèvres de sang.

Between 1976 and 1977, his work consisted strictly of hardcore pornographic films as there was a lack of money and producers reluctant to fund any new mainstream projects due to his previous commercial failures. Seven porn films were produced within this period under his pseudonym Michel Gentil, and one of which, Suce moi vampire (Suck Me Vampire: the hardcore version of Lèvres de sang), he credited himself as Michel Gand. His 1976 hardcore film Douces pénétraitions marked the final time the Castel Twins would appear together working for Rollin, and the final time Marie-Pierre would work with him altogether. Catherine would continue to appear in his films for several years.

Jean Rollin returned in 1978, when he wrote and directed Les raisins de la mort (The Grapes of Death) which has been considered the first French gore film. It has been described as one of the most pivotal films in his entire canon and is seen as a rare departure from his usual dreamlike and poetic works. Following the negative reception and commercial failures of his previous films and having to direct pornographic pictures, Rollin eventually gained financial backing to produce his next mainstream feature. The story here features a young woman, Elisabeth (Marie-Georges Pascal) who is travelling to a secluded vineyard in the mountains owned by her fiancé. There she discovers that the local residents who occupy the village have been transformed into mindless zombies by a dangerous pesticide which contaminated the grapes growing at the vineyard following a wine festival which occurred some days before.

The film includes pornographic actress Brigitte Lahaie, in her first mainstream role, as Rollin was the first French director to recognise her acting capabilities and offer her much more prominent roles in his subsequent films. Rollin stated that Les raisins de la mort was his "first traditional, almost conventional, production" which was because the film acquired solid finances with made a change and with special effects supplied by Italian experts. Claude Becognee served as director of photography which added to the film's success. Rollin would credit much of the film's success to Marie-Georges Pascal's portrayal of Elisabeth, whom he would recall delivered a very "moving" performance in the film. Les raisins de la mort was shot in the deserted mountain region of Les Cévennes.

The film is often referred to as being influenced by George A. Romero's Night of the Living Dead. However, it has more in common with Jorge Grau's 1974 Spanish-Italian horror film Let Sleeping Corpses Lie (also known as The Living Dead at Manchester Morgue). The film does not follow the tradition zombie method, instead, Rollin's zombies centre on madness with a strong environmentally conscious message. As he has mentioned, the zombies "have retained their consciousness" and they finally "suffer for what they are". With the film as a notable success, Rollin would continue with pornographic films under a new pseudonym, Robert Xavier, while retaining the Michel Gentil credit. In 1979, and now established as a somewhat successful director, Rollin created Fascination in which he returned to the roots of the fantastique genre his early works are known for. The film is inspired by the short story Un verre de sang (A Glass of Blood) from French poet Jean Lorrain with tells the tale of wealthy French people, who, at the turn of the century, begin to drink the blood of bulls in order to cure anemia. The title of the film refers to and pays homage to a French magazine of the same name which is dedicated to different forms of eroticism in art. Rollin's story of Fascination differs slightly from that of Lorrain's novel, in that, in the year 1905 a group of wealthy Parisian women arrive at an abattoir to drink the blood of an ox as it is believed to be a curative for anemia. The central story follows two lovers Elizabeth and Eva (Franca Maï and Brigitte Lahaie respectively), chambermaids-in-waiting who reside at a deserted castle and are suddenly interrupted by a thief named Mark (Jean-Pierre Lemaire), who takes refuge at the castle in order to hide from a group of thieves he has stolen coins from. When Mark makes love to Eva, she is forced to go outside and confront the thieves in the nearby stables to make a deal; she is forced to have sex with one of the male thieves and subsequently they are murdered by Eva in an iconic scene with Eva wielding a scythe. It is soon revealed that Elizabeth and Eva are expecting a group of women to arrive where sensual love making takes place and the women are revealed to devour the blood of humans.

The film is often said to be of the vampire genre. However, it does not feature the elements which his early vampire films are known for, aside from the drinking of blood. The production of Fascination was not without complications; as it may have been one of the easiest films to shot in Rollin's experience, despite the low budget, the story was met with disapproval from the film's producer, Christine Renaud. As Rollin himself had said, the "co-producer wanted (him) to make a very explicit sex film-straight exploitation fare without too much emphasis on the fantastical elements". Rollin overcame these obstacles and made the film he wanted. Additional members of the crew included Nathalie Perrey, who designed the costumes, and Philippe D'Aram, who provided the score. It was predicted that Fascination would lead to success, as did Les raisins de la mort. However, in a setback, one of the directors of UGC, a huge French distributor, cancelled the screenings Rollin had been promised. As the film was yet another financial failure for Rollin, he had little choice but to resume his pornographic works with continued until the end of the 1970s.

1980s
As Jean Rollin's career continued into the 1980s, he started off the decade with the release of La nuit des traquées (The Night of the Hunted) in the summer of 1980. This mainstream feature saw the return of pornographic actress Brigitte Lahaie, in her first leading role in a Rollin film. Upon the film's debut, it was considered a failure. However, it eventually garnered somewhat of a following in later years, as several of Rollin's works have done in the past. La nuit des traquées was shot in less than ten days on an extremely low budget, similar to his pornographic films. Rollin admitted that "I was tired of X-films", as the film was intended to be another hardcore sex film and told the producer "if you want a horror film for the same cost", then, "I can make it in 9 days". Rollin came to the decision to cast actors of the pornographic industry in the picture in order to keep production cost down and to give the actors the opportunity to show their legitimate talent. The film stands as a noteworthy piece of work in Rollin's canon, as it differs from any of his previous work and is a departure from the fantastique genre that his films are greatly known for; the film is often poetic, yet it serves a realistic tone and chilling atmosphere. Lahaie portrays the character of Elizabeth, a young woman discovered wandering around in the rain on a dark night, by a man named Robert (Vincent Gardère). As Elizabeth has no recollection of why she is there and frequently continues to lose her memory every few minutes, Robert drives her to his apartment in the city where they make love. The following morning while Robert goes to work, a doctor named Francis and a woman named Solange (Bernard Papineau and Rachel Mhas) locate Elizabeth and accompany her back to the clinic where she has escaped from. It is revealed that Elizabeth and fellow patients are currently confined to the hospital for a deteriorating disease in which they have been contaminated by an environmental accident.

In addition to Lahaie, Rollin had actress Martine Delva in mind for the role of Lahaie's character's friend Véronique. Delva was introduced to Rollin and Lionel Wallman by actor Alain Plumey and when offered the role, she accepted the role. Prior to production, which was intended to take place in La Défense district, she was involved in a serious car accident which left her unconscious with a broken leg and she died within one week from her injuries. The role of Véronique then offered to Dominique Journet. Pornographic actress Catherine Greiner and frequent collaborator, Natalie Perrey appeared as patients at the hospital.

In the early year of the film, it was met with a negative reception and did not please audiences during its release; not receiving a successful response at the Stigès Festival,. It did however receive positive reaction when it was screened at a festival in Trieste, where it was applauded and viewed as a highly subversive work. Rollin himself had stated that "I don't think it is a very good film and it is probably one of my worst" and that if he could remake just one of his films it would be La nuit des traquées.

In 1980, Rollin directed the Spanish zombie horror feature, Le lac des morts vivants (commonly known as Zombie Lake) under the pseudonym J.A. Lazer. Jésus Franco was intended to direct the film, and with an unfortunate turn of events he became unavailable. At this point, Rollin was planning to take a vacation, and on the morning he was expecting to leave, he received a phone call from the production company Eurociné asking if he would be interested directing the horror film which was due to start filming the next morning, as Franco could not be located. Rollin agreed, and arrived on set the following morning. The company could not attach Rollin's name to the project due to issues with the contact, as a Spanish name had to be credited for the film and J.A. Lazer was chosen. Le lac des morts vivants was released in 1981 and Rollin admitted that he never really cared for the film. It contains most of the elements which one would expect from a Franco film, and includes Franco's frequent collaborators such as actors Howard Vernon, Nadine Pascal, Antonio Mayans and Alain Petit, and composer Daniel White. Photography for the film was courtesy of Max Monteillet, who Rollin would later work with in several projects. Rollin himself made a cameo appearance in the film.

In 1981, Rollin returned with the drama film, Les paumées du petit matin (The Escapees or The Runaways). It marks a departure to the usual horror tones which his films are notable for, and here mixes drama with elements of adventure, thriller and crime, while maintaining erotic and poetic themes and remains a distinctive and unique piece of work from Rollin. The story follows two young women who are confined to mental asylum in the countryside; Michelle (Laurence Dubas), a troubled teenager, has been returned to the asylum after escaping and is forced into a straitjacket. She manages to get the attention of Marie (Christiane Coppé), a teenage girl who is who sits in the garden on a rocking chair, while staring into space and never speaks, by dropping a tin food dish from her bedroom window and the sound somehow brings Marie back to reality. They escape from the asylum and encounter a group of burlesque dancers, a bar singer and a group of women who proceed to rape Marie. Their journey ends when they become involved in crime and death. The cast includes Rollin's usual collaborators Louise Dhour, Nathalie Perrey, Brigitte Lahie and a cameo appearance from Rollin himself. Les paumées du petit matin unfortunately failed to receive a proper theatrical in 1981 which resulted in it being one of the most difficult Rollin films to find in future. It did however receive its first DVD release in 2009 in the United States courtesy of Redemption Films, with a subsequent release in the United Kingdom. Again with a limited budget an issues with the script, Rollin stated that there were many problems with the production right from the beginning; that it was "an incredible mess", filled with "clichés and platitudes of melodrama." Later reviews of the film have been quite positive; Cathal Tohill and Pete Tombs would go so far as to call it a schizophrenic work in their wonderful Immoral Tales, but they would also note that "the beginning and end are pure Rollin" and "what is good in (The Escapees) is very good."

His 1982 film, La morte vivante (The Living Dead Girl) was his most commercial and successful work since Les raisins de la mort. In addition to its small budget, Rollin again had to contend with producers to construct a film that he wanted, as they required another zombie piece. He was reluctant to do so and was influenced to create a film with combinations from his previous works. Rollin described that the living dead girl is sort of a vampire woman who devours the blood of humans, taking the idea from his vampire works, but not exactly making her a vampire. The gore is a notable aspect taken from Les raisins de la mort. His usual poetic, supernatural and horror themes are still present within the film. Rollin created the story of a young woman named Catherine Valmont (Françoise Blanchard) who has been dead and buried in her family vault beneath the Valmont mansion for the past two years. As three thieves enter the vaults and plan to rob Catherine and her deceased relative of their jewellery as they lay in their coffins, an earth tremor occurs, which suddenly resurrects Catherine. Unaware of her surroundings, she must acquire human victims and drink their blood to prevent her descending into madness and possibly death, with drifting in and out of childhood memories of her childhood friend, Hélène (Marina Pierro). During which, a photographer, Barbara (Carina Barone), becomes fascinated by Catherine when she discovers her and thinks she is quite peculiar, and sets out to uncover a mystery. Catherine's childhood friend, Hélène is intending to buy the Valmont mansion, which is currently on the market and a strange phone call leads her to the home where she discovers that Catherine is alive and the bodies of the thieves and the real estate agent and her boyfriend. Trying to convince herself that Catherine did not actually die, she realises that she has returned from the dead and must help her by bringing her unsuspecting victims. Some of the financing for the film was courtesy of Jacques Raif, who co-wrote the feature. The film's photographer Pierre LeBlond, found a castle which would become the Valmont mansion, which they rented. The castle provided accommodation for the cast and crew, in which the owner offered to cook. According to Rollin, the owner insisted on being referred to as "His Lordship" and that he was very difficult to get along with Actress, Françoise Blanchard was introduced to Rollin by Fanny Magier, a co-star actress who appeared in the film. When Blanchard arrived, Rollin was unsure whether to offer her the role of Catherine due to the fact that in the first scene in which her character is resurrected, Blanchard appeared wearing trousers which wasn't required for the scene and Rollin did not ask her to remove them. She did however receive the role due to good contact. Blanchard showed great professionalism in her role and in one particular scene, the final scene of the film, in which Blanchard's character cries and screams after devouring her childhood friend, the crew became concerned over her mental state as they thought she has descended into madness. She gave an amazing performance for the role. During the preparation of the film, Rollin had been to Rome with Lionel Wallman to find an actress to portray the role of Hélène. Rollin had Teresa Ann Savoy in mind for the role, whom he was greatly impressed with. After speaking with Savoy and showing her a script for a pornographic picture which was in English and devoid of interest and not for La morte vivante, as she didn't speak French, she refused the role and told her agent that she would never in her life shoot with a guy like him. His second choice was actress Marina Pierro, a recurring collaborator with director Walerian Borowczyk, whom Rollin instantly liked. Pierro accepted the role. In the role of the photographers, American actor Mike Marshall, whom Rollin enjoyed working with during the production received the role of Greg and Canadian actress Carina Barone, was offered the role of Barbara due to a previous actress who featured in Les paumées du petit matin turning it down as she unmistakable believed that it was supposedly an erotic film. The film was a commercial success within theatres and received quite a positive reception, especially in Italy. Upon its release, Rollin was betrayed by a dishonest distributor who premiered in a select number of small theatres behind his back, as the film deserved a much larger audience in highly established theatres. However, La morte vivante was selected in many festivals which gave the film little success, particularly in Rome where Rollin's friend, Andriano Pintaldi presented the film in his festival where it was given the public's award.

After directing three additional pornographic features following La morte Vivante, Rollin's next feature film, Les trottoirs de Bangkok (The Sidewalks of Bangkok) was released in 1984. It is a rare production for Rollin, in that it does not contain his traditional fare of the supernatural, horror, or the fantastique genre. It is highly influenced by Rollin's childhood passion for old serials as it contains themes of adventure, crime and mystery, comic-book fantasy and is inspired by the 1932 Boris Karloff classic The Mask of Fu Manchu. The leading protagonist of the film is pornographic actress, Yoko, whom Rollin mentioned that he had "never worked with an actor who was so open-minded and easy to direct." She portrays the role of Eva, who is on the run from the French Secret Service and a rival syndicate who desperate require a deadly chemical which she possesses. This is her only mainstream role outside of the pornographic industry. Françoise Blanchard returns in her second film with Rollin, as she appears in the role of Claudine, a woman who works for the syndicate and is forced to locate Eva and hand her over to her villainous boss, instead she chooses to protect Eva. Supporting cast includes Argentina actor Gérard Landry, Israeli actress Brigitte Borghese, Jean-Pierre Bouyxou, whom Rollin has worked with on numerous occasions throughout his career, and a cameo appearance from Rollin. On a limited budget, and again working with producer Lionel Wallman and cinematographer Claude Becognee, the production of Les trottoris de Bangkok was filmed in several locations, many of which were not given permission to; the Chinese Quarter of Porte d'Italie and on the docks where goods from Asia were unloaded, an abandoned den near the Champs-Élysées, and on part of the French railroad. The film became a success and Rollin admitted that despite the fact that the film was a mess, he said "the entire shoot was great fun." Working with Yoko prompted Rollin to write a new film which included her alongside Brigitte Lahaie which unfortunately never became a film as Yoko retired from acting in the early nineties.

Rollin received minor work following Les trottoirs de Bangkok; in 1985, he resumed his pseudonymous work as "Michel Gentil" with a non-pornographic feature, the slapstick comedy, Ne prends pas les poulets pour des pigeons which reunited Brigitte Borghese and Gérard Landry from his previous film, and included French actor and comedian Popeck. Rollin was hired, and therefore his real name was not attached to the project. In 1988, he received the uncredited directorial role in the erotic sequel Emmanuelle 6, for which he wrote the screenplay. The film suffered many flaws during production under direction from Bruno Zincone and Rollin became involved in an attempt to salvage what he could and see that production was completed for the financiers.

At the end of the decade, Rollin created Perdues dans New York (Lost in New York) which was produced in 1989. Rollin mentioned that the film was "an anthology of all the themes and obsessive images I have used in my films", and that it, "brought to an end what had been started within the previous 13 films." A friend of Rollin's who was a producer insisted his help as he need location shots of New York an upcoming TV series he was working on. Rollin agreed and travelled to New York with a small film crew and a 16mm camera. While filming the shots, Rollin was struck with an idea to improvise a theme in which two young women are separated and desperately search for one another. He produced the film with a runtime of just under one hour and immediately struggled to find distribution, whether it be released to theatres or television. It was difficult to find distribution for independent and exploitation pictures in the late eighties as in a time of revolution and change, distributors would only pick up more commercial and high-budget film. It was not until the following years that the film found its audience on the home video market. Initially, Perdues dans New York was to be the final production of Rollin's canon as he has become ill during this period, and he expressed gratitude to his many fan by paying homage to his early works.

Despite his intentions to retire from directing following Perdues dans New York, his final film of the 1980s, Killing Car (working title Femme dangereuse) was produced in 1989. It is a revenge thriller and one of his most underrated and overlooked works. Initially intended to be a softcore production under the Michel Gentil pseudonym, Rollin attached his own name to the project and made it one of his most personal and self-referential of all his works. The film was shot on 16mm and in less than a week on a minimal budget of under $100,000. Australian model Tiki Tsang, originally of Brisbane, Queensland, had been residing in Paris, France for sometime when she was discovered by Rollin and offered her the role of "The Car Woman", a strange woman who steals an old Buick and proceeds to kill a number of people to seek revenge for a past tragedy. The part of "The Car Woman" was written especially for Tsang in what is the only film credit to her name. Killing Car gives nod to previous Rollin works including Tsang emerging from a grandfather clock (as did Dominique in an iconic scene from Les frisson des vampires). Max Monteillet returned as cinematographer and Philippe Brejean provided the score. Cast includes recurring collaborators Jean-Pierre Bouyxou and Jean-Loup Philippe. Following the production, Rollin was hospitalized due to exhaustion and started editing the film after his recovery. The editing process lasted two years. Several problems would arise during post-production, as the film found it difficult to receive distribution, like Perdues dans New York, if it could not receive a theatrical distribution, Rollin would settle for a video or television release. The film was eventually released in 1993. It was announced that no usable print or negative of the film exists today, and all known film negatives are considered lost.

1990s
Rollin's final adult production came in 1994 when he made a brief return to direct (uncredited) and wrote the scenario for Le Parfume de Mathilde (The Scent of Mathilde). Rollin was initially required as a screenwriter for the production due to the fact that he was to replace producer Marc Dorcel's in-house auteur Michele Ricaud, who has just recently passed away. However, Rollin became co-director of the made-for-video film. Following his final time working on a sex film, Rollin later returned to his traditional works when he would go on to resume what he was best known for.

Rollin continued his career into the 1990s, following what was intended to be a brief return in 1994 when he directed and wrote a final pornographic film. He remained true to form for what were to be his final years of film making, and his next feature went into production in 1995; Les deux orphelines vampires (The Two Orphan Vampires) saw the return of his most recognizable work, and his first vampire film since 1975's Levres de sang. With the then recent increase in popularity of Rollin's works, and with the resurgence with the vampire genre in general, most notable with Bram Stoker's Dracula, this prompted Rollin to create a new vampire feature, quite different from Francis Ford Coppola's 1992 blockbuster, as he stated that it was "not a good film at all", and that "it just doesn't work for one second". The idea of the film was based upon Rollin's novel of the same name and went into production in June 1995 for a mere ₣3,000,000, which is actually more than his prior works received. Locations for the shoot included four days in New York at the beginning, with the remaining three weeks in Paris. Cinematography was provided by Norbert Marfaing-Sintes, who previously worked with Italian director Duccio Tessari, as Max Monteillet was not available. Nathalie Perrey introduced Rollin to Marfaing-Sintes, as she had experience working with Marfaing-Sintes in many films; to show his gratitude, Rollin offered Perrey a role in Les deux orphelines vampires. The leading roles were offered to two inexperienced actresses, Alexandra Pic and Isabelle Teboul, whom Rollin choose while answering a newspaper ad they had printed. Brigitte Lahaie received a minor role in the film. Following an extensive period in post-production, the film was eventually released on 9 July 1997.

His next directorial feature, La fiancée de Dracula (The Fiancée of Dracula) went into production in 1999. Rollin had written the screenplay for the film, as he did with many of his previous works. During which time, Rollin was receiving dialysis for kidney disease and for periods of time, did not remain with the film crew and production was shared with Jean-Noël Delamarre in his absence, while Rolling was staying at a hotel in Caen. Filming locations included the islands of Chausey where the majority of the filming took place, a cemetery in Épinay-Champlâtreux, a castle in Blandy, Seine-et-Marne, and port of Pourville-lès-Dieppes. Long-time collaborators Brigitte Lahaie, Catherine Castel and Nathalie Perrey returned for prominent roles in the film. Rollin's niece, Sandrine Thoquet appeared in the film as a young vampire burned by the rays of the sun. Following production, Rollin received a kidney transplant in October 2000 during the post-production which lasted for almost two years. The film was successfully shown in theatres on 14 August 2002, for which Rollin was not completely satisfied of the release date. However, he was pleased that it was released to theaters and was somewhat well received.

Personal life and death
Rollin was married to Simone Rollin Roth Le Gentil (née Morel), with whom he had two sons, Serge and Carel. He was married to Simone until his death.

Rollin died on 15 December 2010 after a long battle with cancer and was survived by his wife Simone, son Serge and granddaughter Gabrielle. He is buried at Père Lachaise Cemetery in Paris. Rollin's son, Carel (1973–2001), and his wife, Simone (1934–2016), rest alongside him.

Selected filmography
The following list consists of Jean Rollin's mainstream works as both director and writer and not of his pseudonym or pornographic works. For a complete list of his entire work, including producer and acting credits, see full filmography.

title: Jean Rollin


text:
Standard Compression Scheme for Unicode

The Standard Compression Scheme for Unicode (SCSU) is a Unicode Technical Standard for reducing the number of bytes needed to represent Unicode text, especially if that text uses mostly characters from one or a small number of per-language character blocks. It does so by dynamically mapping values in the range 128–255 to offsets within particular blocks of 128 characters. The initial conditions of the encoder mean that existing strings in ASCII and ISO-8859-1 that do not contain C0 control codes other than NULL TAB CR and LF can be treated as SCSU strings. Since most alphabets do reside in blocks of contiguous Unicode codepoints, texts that use small alphabets and either ASCII punctuation or punctuation that fits within the window for the main alphabet can be encoded at one byte per character (plus setup overhead, which for common languages is often only 1 byte), most other punctuation can be encoded at 2 bytes per symbol through non-locking shifts. SCSU can also switch to UTF-16 internally to handle non-alphabetic languages.

History & use
Reuters originally developed SCSU, then under the name RCSU for Reuters Compression Scheme for Unicode.

At first the Unicode Consortium considered it to be a character encoding, but in 1999 changed its mind: although it was still considered a transfer encoding syntax, for a while it was no longer considered a character encoding because different compressors might yield different outputs for the same text. However, in 2004 this decision was reverted and now SCSU is considered a compressing character encoding scheme, as opposed to a simple or compound character encoding scheme.

Roman Czyborra (of GNU Unifont) wrote a decompressor. The IBM-contributed decompressor is found in International Components for Unicode, along with a compressor written in Java. Simpler reference codecs are available as attachments to TR6.

Symbian OS, an operating system for mobile phones and other mobile devices, uses SCSU to serialize strings.

SQL Server 2008 R2 uses SCSU to compress Unicode values (there meaning from strings in UCS-2 encoding) stored in nchar(n) and nvarchar(n) columns, achieving space savings between 15% and 50% (while UTF-8 only has this 50% reduction for ASCII subset of Unicode), depending on the language of the data.

The scheme
The following sections briefly describe the anatomy of a compressed SCSU stream. For a full description (matching that of a decompressor), see the UTS #6 document.

Encoding modes
SCSU starts in the single-byte mode, which uses the compressed Window encoding. There exist commands to switch to a UTF-16BE "Unicode" mode, and to switch to the single-byte mode from that mode.

Window encoding
The core of SCSU lies in the windows for which the meanings of bytes 0x80-0xff are defined. There are eight static windows for simpler scripts and punctuation, and 6 types of dynamic windows (plus "half Unicode block" windows and custom Windows for the supplementary planes) for scripts making use of more characters.

Both simple and dynamic windows are selected by special command characters. For individual characters that do not fit into the current block, command characters for quoting are provided.

Comparison with general-purpose plain text compression schemes
Because UTF-16 or UTF-8 text might occupy more space than its equivalent in pre-Unicode encodings did, one might want to use compression such as SCSU to mitigate this problem. In comparison with general-purpose compressors, it is not necessarily advantageous to use SCSU. Also, while it can be used as a text encoding, because of the stateful nature of the algorithm difficulties may arise when using it as an internal text representation since basic text operations become non-trivial.

Treated purely as a compression algorithm, SCSU is inferior to most commonly used general-purpose algorithms for texts of over a few kilobytes.

SCSU does have the advantage that it can usefully compress texts that are only a few characters long, whereas most full-scale compressors need hundreds of bytes of data to break even against their own overhead. In Symbian OS, SCSU is used even for Clipboard operations, e.g. Cut, Copy & Paste of small strings of text.

In HTML
Supporting SCSU in HTML documents is prohibited by the W3C and WHATWG HTML standards because HTML wasn't designed with non-ASCII-compatible encodings in mind. In the past, cross-site scripting vulnerabilities due to browsers' poor handling of such encodings have been demonstrated.

title: Standard Compression Scheme for Unicode


text:
Pierre Woodman

Pierre Woodman (born Pierre André Nicolas Gerbier; 29 April 1963)  is a French pornographic film director. He is best known for his casting series where he specializes in having first-time female adult models perform rough anal sex and double penetration. Woodman has been accused of violating consent and coercing models to perform acts against their will, including using physical violence to force models to swallow semen and urine. Early in his career, Woodman would arrange meetings with women in hotel rooms under the guise of fashion modelling before revealing his intent of having them engage in sexual acts.

Career
Woodman joined the army at age 17, and later became a policeman. In 1986, he started a career as a fashion and TV photographer. In 1989, he took part in launching the magazine Hot Video, as a reporter. In 1992, he started worked for Private Media Group, Inc., for which he made several movies, such as The Pyramid, Tatiana, and Riviera. In 1997, Woodman launched his series "Casting X".

In 1999, Woodman began to produce and release his Superfuckers series for Private. At the end of the year, he received an invitation from Larry Flynt, owner of LFP, Inc. and a publisher of the magazine Hustler. Woodman produced several movies for the company before departing in 2005.

In 2004, after playing himself in the Spanish film Yo Puta, alongside Denise Richards and Daryl Hannah, he did several photo-shoots for fashion magazines, such as Vogue and Blast.

Woodman then launched a program affiliation on the Internet called "Spider-Cash", to distribute its films in the form of video sequences, after Berth Milton, head of Private, asked Woodman to return to work for him in 2005. Woodman left Private in June 2006 for a second time and announced that he was creating his own production and distribution company, Woodman Entertainment.

"Castings X" productions
With the breakup of the former Soviet Union in the early 1990s, Central and Eastern Europe became a new center of pornographic production, with actresses available for a fraction of the cost of American performers. In 1992, Woodman started his casting film series for Private. Woodman's "Castings X" movies were first released in October 1997. The movies were released by Private between 1997 and 2003, after which Hustler started distributing them under the label "Hustler Casting Couch". In April 2008, Woodman announced that Woodman Entertainment would issue new movies and scenes of the Casting X series.

The casting scenes are typically filmed in hotel rooms, usually in Central Europe. During the 1990s, the actresses would be invited to a meeting with Woodman under the guise of working as a fashion model, which would be filmed with a hidden camera. Woodman would then show the actresses a Private magazine featuring pornographic images and then inviting them to do similar sexual acts with him. While some actresses would initially refuse to perform the acts and voice their disappointment at being tricked, Woodman would spend an extensive amount of time convincing them to change their mind, often cutting this portion from the final movie or scene. The sexual acts often involve rough anal sex with slapping and verbal abuse, and urination. During the 2000s, Woodman would begin interviewing models before engaging in sexual acts, after which he would often bring in several male co-performers to engage in group sex acts, at times to the surprise of the female model.

Woodman has released 225 DVDs from his "Casting X" series, featuring mostly European actresses. In an interview, he claimed to have more than 7,000 scenes in stock. In 2009, the Netherlands branch of HBO TV made a 52-minute report about his life called "Pierre Woodman Story".

Controversies
In 2013, following the airing of a documentary on Woodman, the French online magazine Le Tag Parfait published an article that accused the director of pushing unsuspecting performers into engaging in unplanned sexual acts with him. In 2017, Lana Rhoades accused Woodman of coercing her into performing acts she did not want to do during a shoot and that he allegedly admitted to violating another woman's rights to her. In 2022, Woodman was interviewed by Louis Theroux for a BBC broadcast and was questioned about disregarding his models' consent.

Personal life
Woodman has been married three times and is the father of four children. He was divorced from the Russian porn star Tania Russof in 2000. Since 2002, he has lived with adult model Sophie Paris, who he met during a shoot for his casting series. He is the father of French writer Alexandra Geyser.

Awards and nominations

 * 1997 Hot d'Or Award winner - Best European Director (The Pyramid)
 * 1997 Hot d'Or Award winner - Platinum Movie 1997 (The Fugitive - Private)
 * 1998 Hot d'Or Award winner - Best European Director
 * 2001 Hot d'Or Award winner - Best Director (Madness)
 * 2003 Special Award of the Ninfa Organization winner
 * 2004 Ninfa Lifetime Career Award winner
 * 2007 Ninfa Award winner - Best Director (Public)

title: Pierre Woodman


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Mahatma Gandhi Memorial Medical College, Jamshedpur

Mahatma Gandhi Memorial Medical College, also known as MGM Medical College, is an Indian medical college established at Jamshedpur in 1961. It is one of the six medical colleges in Jharkhand which are completely run by the government.

History
During its inception it was a private medical college in un-carved Bihar state. In 1977 this college was taken over by the Bihar government. Now it falls under the newly separated Jharkhand state since 15 November 2000.

Previously the college was affiliated to Ranchi University, Ranchi. Since the inception of regional Kolhan University, Chaibasa on 12 August 2009, the college has been under its affiliation.

Location
MGM Medical College is in India's steel city, Jamshedpur. When the college started, it was 6 kilometers away from the city centre, in the foothill of Dalma range. There was nothing except paddy fields nearby. Over a period of time, the city has expanded. The college's hospital is in Sakchi.

Admissions
The students are admitted through NEET exam conducted by National Testing Agency (NTA).

Courses
These are the courses offered:

Undergraduate

 * MBBS

PG Courses
M.D. (General Medicine)         3

M.D./M.S. (Anatomy)                 1

M.D. (Physiology)                     1

M.D./ M.S. (Obs. & Gynae.)     1

M.S. (Orthopedics)                   1

M.D. (Anesthesiology)             1

M.D. (Paediatrics)                      2

M.S. (General Surgery)             2

M.D. (Pathology)                        2

M.S. (Ophthalmology)             2

M.S. (Otorhinolaryngology)   2

D.G.O.                                              1

D.C.H.                                             1

D.M.R.D.                                         1

Total                                             21

Post graduate diploma

 * DCH (diploma in Child Health)
 * DGO (diploma in Obst-Gynae)
 * DMRD

Affiliations
The college is recognised by the National Medical Commission and is currently affiliated to Kolhan University.

Notable alumni

 * Misa Bharti, MP in Rajya Sabha


text:
User talk:195.144.131.2

Nomination of Star Cross'd Destiny for deletion
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title: User talk:195.144.131.2


text:
1970 Greater London Council election

The third election to the Greater London Council was held on 9 April 1970 and saw a Conservative victory with a reduced majority.

Electoral arrangements
New constituencies to be used for elections to Parliament and also for elections to the GLC had not yet been settled, so the London boroughs were used as multi-member 'first past the post' electoral areas. Westminster was joined with the City of London for this purpose. Each electoral area returned between 2 and 4 councillors. Polling day was 9 April 1970, except in Hammersmith where it was delayed until 27 April 1970 because of the death of a candidate.

General election of councillors
The Conservative Party won a majority of seats at the election.

With an electorate of 5,524,384, there was a turnout of 35.2%. Labour recovered from its mauling three years previously, but did so primarily in working-class areas. Consequently, relatively few seats changed hands: Labour won back Camden, Greenwich, Hammersmith, Lewisham, Wandsworth, and one seat in Lambeth. The results did enable Labour to take back control of the Inner London Education Authority and were one of the factors used by Prime Minister Harold Wilson in deciding to call a general election soon after.

Among those who were first elected to the GLC in 1970 were Tony Banks (Labour, Hammersmith, later Minister for Sport) and Sir George Young (Conservative, Ealing, later a cabinet minister under John Major). The election is also significant as it was at a meeting in support of the Conservative candidates in Lambeth that John Major met Norma Johnson, who became his wife.

1 These parties were created by a group of students standing in Haringey, who declared that they intended to make a mockery of the election.

Aldermanic election
In addition to the 100 councillors, there were sixteen aldermen elected by the council. Eight aldermen elected in 1967 continued to serve until 1973 and eight elected in 1964 retired before the 1970 election. Eight aldermen were elected by the council on 28 April 1970 to serve until 1976.

Aldermen elected in 1970, to retire in 1976:

The aldermen divided 11 Conservative and 5 Labour, so that the Conservatives had 76 members to 40 for Labour following the aldermanic election.

By-elections 1970–1973
No seats changed hands in by-elections during this term. The Conservatives retained Kensington and Chelsea on 2 December 1971 after the death of Seton Forbes-Cockell, and Barnet on 19 October 1972 after the death of Arthur Peacock. Labour retained Wandsworth on 15 June 1972 after the death of Sir Norman Prichard. No seats were vacant at the end of the term.

There were three aldermanic by-elections caused by the resignations of David Gilbert Baker (Conservative), Brian Caldwell Cook Batsford (Conservative) and Christopher John Chataway (Conservative) in 1970. Three replacement aldermen were elected on 28 April 1970 (coinciding with the normal election of alderman). Ewan Geddes Carr (Labour), Illtyd Harrington (Labour) and William Watts (Labour) were elected, to serve until 1973.

Three further aldermanic by-elections were caused by the resignations of Reginald Ernest Prentice (Labour) in 1971, Timothy Charles Farmer (Labour) in 1971 and Gerard Folliott Vaughan (Conservative) in 1972. Alfred Frederick Joseph Chorley (Labour) was elected by the council on 4 May 1971, to serve until 1976. Bernard James Perkins (Labour) was elected by the council on 19 October 1971, to serve until 1973. Gordon William Herbert Taylor (Conservative) was elected by the council on 3 October 1972, to serve until 1976.

title: 1970 Greater London Council election