ᱰᱮᱣᱤᱰ ᱜᱽᱨᱟᱱᱴ (ᱥᱟᱯᱲᱟᱣᱤᱡ)

ᱰᱮᱣᱤᱰ ᱦᱟᱢᱤᱞᱴᱚᱱ ᱜᱽᱨᱟᱱᱴ (ᱡᱟᱱᱟᱢ ᱣᱤᱞᱤᱥ ᱮᱱᱰᱨᱤᱣ ᱦᱳᱞᱴ; ᱫᱚ ᱑᱙᱖᱐ ᱟᱨ ᱑᱙᱗᱐ ᱥᱮᱨᱢᱟ ᱨᱮᱭᱟᱜ ᱢᱤᱫ ᱤᱝᱞᱤᱥ ᱯᱳᱨᱱ ᱯᱨᱚᱰᱭᱩᱥᱟᱨ ᱛᱟᱦᱮᱸ ᱠᱟᱱᱟᱭ᱾

ᱡᱤᱣᱱᱤ

ᱣᱤᱞᱤᱥ ᱮᱱᱰᱨᱤᱭᱩ ᱦᱚᱞᱴ ᱫᱚ ᱑᱙᱓᱙ ᱨᱮ ᱩᱠᱥᱵᱨᱤᱰ ᱨᱮ ᱡᱟᱱᱟᱢ ᱞᱮᱱᱟᱭ ᱾ ᱩᱱᱤ ᱫᱚ ᱒᱒ ᱡᱟᱱᱩᱣᱟᱨᱤ ᱑᱙᱘᱒ ᱥᱟᱞᱮ ᱨᱮ ᱟᱡᱟᱜ ᱧᱩᱛᱩᱢ ᱰᱮᱵᱤᱰ ᱦᱟᱢᱤᱞᱴᱚᱱ ᱜᱨᱟᱱᱴ ᱧᱩᱛᱩᱢ ᱛᱮ ᱩᱪᱟᱹᱲ ᱠᱮᱫ-ᱟ ᱾

ᱜᱽᱨᱟᱱᱴ ᱟᱜ ᱯᱳᱭᱞᱳ ᱪᱚᱞᱚᱛ ᱪᱤᱛᱟᱹᱨ ᱛᱟᱦᱮᱸᱠᱟᱱᱟ ᱞᱟᱵᱷ ᱳᱣᱟᱨᱟᱭᱮᱥᱚᱱᱥ (᱑᱙᱖᱙) ᱢᱤᱫᱴᱟᱝ ᱡᱳᱜᱽ ᱥᱮᱪᱮᱫ ᱪᱚᱞᱚᱛ ᱪᱤᱛᱟᱹᱨ ᱡᱟᱦᱟᱸ ᱢᱤᱫ ᱥᱮᱨᱢᱟ ᱞᱟᱦᱟ ᱜᱨᱟᱱᱴ ' ᱵᱟᱯᱞᱟ ᱢᱮᱱᱩᱞ ' ᱪᱮᱛᱟᱱ ᱴᱮᱦᱟᱴ ᱠᱟᱛᱮ ᱪᱤᱛᱟᱹᱨ ᱦᱟᱛᱟᱣ / ᱩᱪᱷᱟᱹᱱ ᱞᱮᱫᱟ ᱾ ᱑᱙᱗᱐ ᱥᱮᱨᱢᱟ ᱨᱮ ᱜᱽᱨᱟᱱᱴ ᱟᱜ ᱥᱤᱠᱷᱱᱟᱹᱛ ᱯᱷᱤᱞᱢ ᱨᱮᱱᱟᱜ ᱨᱟᱡᱽᱜᱟᱲ ᱫᱚ ᱵᱟᱹᱲᱛᱤ ᱞᱮᱱᱟ᱾ ᱩᱱᱤ ᱫᱚ ᱟᱹᱰᱤ ᱜᱟᱱ ᱮᱰᱩᱴᱥ ᱥᱤᱱᱮᱢᱟ ᱠᱚᱭ ᱮᱦᱚᱵ ᱞᱮᱫᱟ, ᱯᱩᱭᱞᱩ ᱫᱚ ᱑᱙᱗᱔ ᱥᱮᱨᱢᱟ ᱨᱮ ᱫᱤ ᱯᱤᱜᱚᱞᱞᱮ (The Pigalle) ᱛᱟᱦᱮᱸ ᱠᱟᱱᱟ᱾ ᱩᱱᱤ ᱫᱚ ᱟᱡᱟᱜ ᱚᱯᱯᱤᱰᱟᱱ (Oppidan) ᱠᱚᱢᱯᱟᱱᱤ ᱦᱚᱛᱮ ᱛᱮ ᱵᱟᱦᱨᱮ ᱫᱤᱥᱚᱢ ᱨᱮᱱᱟᱜ ᱥᱤᱠᱷᱱᱟᱹᱛ ᱯᱷᱤᱞᱢ ᱠᱚᱭ ᱵᱷᱮᱡᱟᱨ ᱞᱮᱫᱟ᱾ ᱟᱨ ᱱᱤᱡᱮᱨᱟᱜ ᱯᱷᱮᱪᱩᱨᱮᱴ ᱦᱩᱰᱤᱧ ᱵᱨᱤᱴᱤᱥ ᱥᱤᱠᱷᱱᱟᱹᱛ ᱠᱚᱢᱮᱰᱤ (Girls Come First, The Office Party, and Under the Bed) ᱠᱚᱭ ᱯᱨᱚᱰᱭᱩᱥ ᱞᱮᱫᱟ᱾ ᱩᱱᱤ ᱫᱚ ᱥᱱᱳ ᱳᱣᱟᱭᱤᱴ ᱮᱱᱰ ᱫᱟ ᱥᱮᱵᱷᱮᱱ ᱯᱚᱨᱵᱷᱟᱨᱴᱥ (᱑᱐᱗᱓) ᱼ " ᱥᱱᱳ ᱳᱵᱷᱟᱭᱤᱴ ᱮᱱᱰ ᱫᱟ ᱥᱮᱱ ᱰᱟᱣᱩᱯᱷᱥ " ᱼ ᱧᱩᱛᱩᱢ ᱛᱮ ᱢᱤᱫᱴᱟᱝ ᱯᱳᱨᱱᱳᱜᱽᱨᱟᱯᱷᱤᱠ ᱮᱱᱤᱢᱮᱴ ᱪᱳᱨᱴ ᱯᱮᱨᱳᱰᱤ ᱵᱮᱱᱟᱣ ᱞᱮᱫᱟᱭ ᱾

ᱜᱽᱨᱟᱱᱴ ᱟᱜ ᱯᱷᱤᱪᱚᱨᱮᱴᱥ ᱫᱚ ᱤᱰᱤ ᱞᱤᱵᱷᱤ ᱴᱮᱠᱥ ᱥᱴᱮᱥᱚᱱ ᱨᱮ ᱵᱮᱵᱷᱟᱨ ᱞᱟᱹᱜᱤᱫ ᱛᱮ ᱯᱳᱯᱩᱞᱟᱨ ᱤᱭᱩᱨᱚᱯᱤᱭᱟᱱ ᱥᱠᱩᱞ ᱯᱷᱤᱞᱢ ᱥᱟᱶ ᱥᱤᱱᱮᱢᱟ ᱰᱟᱵᱞ ᱵᱤᱞ ᱨᱮᱱᱟᱜ ᱞᱟᱛᱟᱨ ᱦᱟᱹᱴᱤᱧ ᱨᱮ ᱵᱮᱵᱦᱟᱨᱚᱜ ᱠᱟᱱ ᱛᱟᱦᱮᱸᱫ ᱾ ᱞᱟᱹᱱᱟᱹᱭ ᱞᱮᱠᱟᱛᱮ, Girls Come First ᱫᱚ ᱑᱙᱗᱕ ᱨᱮ Enter The 7 Virgins ᱥᱟᱶ ᱢᱤᱫ ᱰᱟᱵᱟᱞ ᱵᱤᱞ ᱨᱮ ᱥᱮᱞᱮᱫ ᱞᱮᱱᱟ, ᱜᱽᱨᱟᱱᱴ ᱫᱚ The Over-Amorous Artist ᱧᱩᱛᱩᱢ ᱛᱮᱭ ᱩᱪᱷᱟᱹᱱ ᱞᱮᱱᱟ Just One More Time ᱟᱨ ᱑᱙᱗᱕ ᱨᱮ Just Jaeckin's Emmanuelle (1974), ᱚᱯᱷᱤᱥ ᱯᱟᱨᱴᱤ ᱫᱚ ᱑᱙᱗᱖ ᱨᱮ ᱞᱤᱸᱰᱟ ᱞᱚᱵᱽᱞᱮᱥ ᱥᱟᱶ ᱯᱨᱮᱥᱤᱰᱮᱱᱴ ᱞᱟᱹᱜᱤᱫ ᱛᱮ ᱵᱟᱨᱭᱟ ᱵᱤᱞ ᱨᱮ ᱡᱚᱲᱟᱣ ᱞᱮᱱᱟ ᱛᱟᱦᱮᱸᱫ, ᱟᱨ ᱜᱽᱨᱟᱱᱴ ᱰᱤᱨᱮᱠᱴᱚᱨ ᱥᱮᱱᱥᱮᱥᱚᱱᱥ ᱠᱳᱥᱤ ᱯᱷᱟᱱᱱᱤ ᱴᱩᱴᱤ ᱟᱨ ᱡᱮᱱᱤᱥᱤᱥᱤᱥ ᱯᱤ-ᱳᱨᱤᱡᱽ ᱮᱱᱮᱡ ᱞᱮᱱ ᱛᱟᱦᱮᱸᱫ ᱯᱩᱥᱴᱤ ᱴᱚᱞᱠ (᱑᱙᱗᱕) ᱨᱮᱱᱟᱜ ᱥᱚᱦᱚᱫ ᱯᱷᱤᱞᱢ ᱛᱟᱦᱮᱸ ᱠᱟᱱᱟ ᱾ ᱑᱙᱗᱘ ᱨᱮ ᱯᱟᱱᱪ ᱢᱮᱜᱟᱡᱤᱱ ᱨᱮ ᱢᱤᱫ ᱯᱨᱚᱯᱷᱟᱭᱤᱞ ᱨᱮ ᱩᱱᱤ ᱫᱚ "ᱜᱩᱞᱟᱹᱭ, ᱠᱚᱲᱟ ᱞᱮᱠᱟᱛᱮ ᱔᱐ ᱥᱮᱨᱢᱟ ᱩᱢᱮᱨ ᱨᱮ, ᱢᱤᱫ ᱠᱚᱲᱟ ᱞᱮᱠᱟᱛᱮ, ᱵᱟᱨᱮᱭᱟ ᱦᱮᱸᱫᱮ ᱟᱨ ᱵᱚᱭᱦᱟ ᱨᱮᱱᱟᱜ ᱢᱚᱪᱟ ᱨᱮ ᱵᱷᱤᱲᱟᱹᱣ ᱟᱠᱟᱱ ᱢᱤᱫ ᱱᱟᱯᱟᱭ ᱢᱚᱪᱟ ᱥᱟᱶ", ᱜᱨᱟᱱᱴ ᱫᱚ ᱟᱡ ᱜᱮ "ᱥᱮᱠᱥᱯᱞᱟᱭᱴᱮᱴᱤᱝ ᱨᱟᱡᱟ" ᱢᱮᱱᱛᱮᱭ ᱢᱮᱛᱟᱜ ᱠᱟᱱ ᱛᱟᱦᱮᱸᱫ ᱟᱨ ᱟᱡᱟᱜ ᱯᱷᱤᱞᱢ ᱨᱮ ᱦᱤᱪᱠᱚᱠ ᱠᱮᱢᱤᱳ ᱮᱢ ᱠᱟᱛᱮᱭ ᱥᱟᱨᱦᱟᱣ ᱞᱮᱫ ᱛᱟᱦᱮᱸᱠᱟᱱᱟ᱾

ᱫᱟ ᱚᱯᱷᱤᱥ ᱯᱮᱨᱤᱴᱤ ᱵᱮᱱᱟᱣ ᱚᱠᱛᱚ (᱑᱙᱗᱖) ᱵᱽᱨᱤᱜᱽᱥ ᱪᱚᱞᱚᱛ ᱪᱤᱛᱟᱹᱨ ᱞᱟᱹᱜᱤᱫ ᱥᱟᱱᱟᱢᱟᱜ ᱵᱮᱶᱦᱟᱨ ᱠᱚᱨᱟᱣ ᱮ ᱵᱟᱭ ᱵᱟᱛᱟᱣᱟ ᱚᱱᱟ ᱛᱟᱭᱚᱢ ᱜᱨᱟᱱᱴ ᱚᱵᱷᱤᱱᱮᱛᱟ ᱡᱳᱱᱤ ᱵᱨᱤᱜᱽᱥ ᱥᱟᱶᱛᱮ ᱢᱤᱫ ᱵᱟᱨᱮᱛᱮ ᱞᱟᱹᱲᱦᱟᱹᱭ ᱞᱮᱱᱟ ᱾ ᱵᱨᱤᱜᱽᱥ ᱮ ᱫᱟᱨᱤ ᱞᱮᱫᱟ ᱡᱮ ᱱᱚᱶᱟ ᱞᱮᱠᱟᱱ ᱩᱫᱩᱜ ᱥᱚᱫᱚᱨ ᱫᱚ ᱩᱱᱤᱭᱟᱜ ᱧᱩᱛᱩᱢ ᱨᱮᱭᱟᱜ ᱦᱟᱹᱱ ᱫᱟᱲᱮᱭᱟᱜᱼᱟ ᱟᱨ ᱢᱤᱫ ᱨᱟᱹᱲ ᱟᱠᱟᱱ ᱜᱨᱟᱱᱴ ᱩᱱᱤ ᱠᱚ ᱠᱷᱟᱹᱰᱩ ᱨᱮᱭᱟᱜ ᱮ ᱫᱟᱵᱤ ᱞᱮᱫᱮᱭᱟ ᱾ ᱵᱨᱤᱜᱽᱥ ᱨᱮᱱ ᱮᱡᱮᱱᱴ ᱟᱜ ᱮᱥᱮᱨ ᱛᱟᱭᱚᱢ ᱢᱤᱫ ᱪᱩᱠᱛᱤ ᱦᱩᱭ ᱞᱮᱱᱟ ᱟᱨ ᱵᱨᱤᱜᱽᱥ ᱫᱚ ᱟᱡᱟᱜ ᱚᱱᱛᱟᱨᱮ ᱵᱮᱼᱵᱩᱴᱟᱹ ᱠᱟᱛᱮ ᱞᱟᱹᱞᱤᱥ ᱟᱱᱟᱜ ᱪᱤᱛᱟᱹᱨ ᱮ ᱩᱫᱩᱜ ᱥᱚᱫᱚᱨ ᱞᱮᱫᱟ ᱾ ᱵᱽᱨᱤᱜᱽᱥ ᱛᱟᱭᱚᱢᱛᱮ ᱟᱭᱟᱜ ᱟᱡ ᱡᱤᱭᱚᱱ ᱨᱮ ᱱᱚᱣᱟ ᱠᱟᱹᱦᱱᱤ ᱨᱮᱭᱟᱜ ᱠᱟᱛᱷᱟ ᱩᱭᱦᱟᱹᱨ ᱠᱟᱛᱮ ᱢᱮᱱ ᱞᱮᱫᱟᱭ ᱡᱮ , ᱪᱤᱛᱟᱹᱨ ᱛᱟᱭᱚᱢ ᱩᱱᱤ ᱫᱚ ᱟᱨ ᱪᱮᱫᱦᱚᱸ ᱚᱠᱛᱚ ᱨᱮᱦᱚᱸ ᱜᱨᱟᱱᱴ ᱥᱟᱶᱛᱮ ᱠᱟᱹᱢᱤ ᱵᱟᱝ ᱠᱚᱨᱟᱣ ᱨᱮᱭᱟᱜ ᱮ ᱥᱳᱯᱨᱳᱫᱽ ᱞᱮᱫᱟ ᱾ ᱩᱱᱤᱭᱟᱜ ᱡᱳᱜᱟᱹ ᱪᱚᱞᱚᱛ ᱪᱤᱛᱟᱹᱨ ᱥᱟᱶ ᱥᱟᱶᱛᱮ ᱜᱨᱟᱱᱴ ᱥᱤᱱᱰᱮᱨᱮᱞᱟ (1972) ᱞᱮᱠᱟᱱ ᱮᱠᱥᱼᱨᱮᱴᱰ ᱠᱟᱨᱴᱩᱱ ᱟᱨ ᱮᱥᱠᱮᱯ ᱴᱩ ᱮᱱᱴᱮᱵᱮ (1976) ᱞᱮᱠᱟ ᱠᱟᱢᱤᱰᱤ ᱥᱚᱨᱴᱥ ᱮ ᱵᱮᱱᱟᱣ ᱞᱮᱫᱟ , ᱡᱟᱦᱟᱸ ᱫᱚ ᱢᱤᱫᱴᱟᱝ ᱯᱮᱨᱤᱰᱤ ᱠᱟᱱᱟ , ᱡᱟᱸᱦᱟ ᱨᱮ ᱢᱤᱫ ᱯᱟᱠᱤᱥᱛᱟᱱ ᱴᱤᱵᱷᱤ ᱨᱮ ᱨᱮᱯᱳᱨᱮᱴᱟᱨ ᱞᱮᱠᱟᱛᱮ ᱢᱤᱫ ᱵᱨᱟᱣᱩᱱᱰ ᱟᱯ ᱡᱚᱱ ᱵᱞᱩᱛᱷᱟᱞ ᱟᱜ ᱪᱩᱨᱤᱛ ᱨᱮ ᱢᱮᱱᱟᱜ ᱟ ᱾

ᱤᱨᱟᱹᱞ ᱜᱮᱞᱟᱝ ᱨᱮᱭᱟᱜ ᱮᱛᱚᱦᱚᱵ ᱥᱮᱫ ᱜᱽᱨᱟᱱᱴ 1970 ᱜᱮᱞᱟᱝ ᱨᱮᱱ ᱜᱟᱛᱮ ᱥᱤᱠᱮᱥ ᱯᱷᱤᱞᱢ ᱨᱮᱱ ᱢᱩᱜᱷᱚᱞ ᱢᱟᱞᱠᱚᱢ ᱯᱷᱮᱱᱥᱤ ᱥᱟᱶᱛᱮ ᱳᱣᱟᱨᱰ ᱚᱯᱷ ᱵᱷᱤᱰᱤᱣ 2000 ᱨᱮᱭᱟᱜ ᱞᱮᱵᱮᱞ ᱵᱮᱱᱟᱣ ᱠᱟᱛᱮ ᱵᱷᱤᱰᱤᱣ ᱨᱮ ᱪᱟᱞᱟᱣ ᱞᱮᱱᱟ ᱾ ᱯᱷᱮᱱᱥᱤ ᱵᱟᱡᱟᱨ ᱨᱮᱱ ᱢᱩᱲᱩᱫ ᱛᱟᱦᱮᱸᱠᱟᱱᱟ, ᱢᱮᱱᱠᱷᱟᱱ ᱜᱨᱟᱱᱴ ᱠᱳᱢᱯᱟᱱᱤ ᱨᱮᱱ ᱥᱮᱨᱛᱟᱣᱟᱜ ᱦᱩᱫᱟᱹ ᱨᱮᱭ ᱛᱟᱦᱮᱸᱠᱟᱱᱟ ᱾ ᱠᱳᱢᱯᱟᱱᱤ ᱫᱚ 1981 ᱥᱟᱹᱦᱤᱛ ᱨᱮᱭᱟᱜ ᱰᱤᱥᱮᱢᱵᱚᱨ ᱨᱮ ᱵᱮᱥ ᱠᱤᱪᱷᱩ ᱥᱟᱯᱷᱴ ᱯᱳᱨᱱ ᱧᱩᱛᱩᱢ ᱥᱟᱞᱟᱜ ᱵᱷᱤᱰᱤᱣ ᱵᱟᱡᱟᱨ ᱨᱮ ᱮᱦᱚᱵ ᱞᱮᱱᱟ ᱾ ᱑᱙᱘᱓ ᱨᱮ ᱜᱨᱟᱱᱴ ᱫᱚᱭ ᱢᱮᱱ ᱞᱮᱫᱟ ᱡᱮ ᱥᱴᱤᱵᱷᱮᱱ ᱥᱯᱤᱞᱵᱚᱨᱜᱽ ᱟᱜ ᱯᱷᱤᱞᱢ ᱮᱴᱤ ᱫᱮ ᱮᱠᱥᱴᱨᱟ ᱴᱮᱨᱮᱥᱴᱨᱤᱭᱟᱞ ᱫᱚ ᱤᱝᱞᱤᱥ ᱛᱮ ᱚᱲᱟᱜ ᱵᱷᱤᱰᱤᱭᱳ ᱨᱮ ᱵᱟᱦᱨᱮ ᱞᱮᱱᱟ ᱛᱟᱦᱮᱸᱫ, ᱟᱨ ᱖᱐ ᱥᱮᱨᱢᱟ ᱨᱮᱱᱟᱜ ᱢᱤᱫ ᱥᱮᱫᱟᱭ ᱵᱷᱤᱰᱤᱭᱳ ᱯᱷᱤᱞᱢ ᱧᱩᱛᱩᱢ ᱛᱮ ᱱᱟᱭᱤᱴ ᱯᱷᱨᱟᱭᱴ (᱑᱙᱖᱘) ᱮ ᱵᱮᱵᱦᱟᱨ ᱞᱮᱫ ᱛᱟᱦᱮᱸᱫ ᱤ.ᱴᱤ.ᱮᱱ - ᱫᱮ ᱮᱠᱥᱴᱨᱟ ᱴᱮᱨᱮᱥᱴᱨᱤᱭᱟᱞ ᱱᱟᱥᱴᱤ ᱧᱩᱛᱩᱢ ᱛᱮ, ᱤ.ᱴᱤ. ᱯᱚᱥᱴᱟᱨ ᱨᱮᱱᱟᱜ ᱯᱟᱨᱳᱰᱤᱝ ᱟᱠᱟᱱ ᱵᱷᱤᱰᱤᱭᱳ ᱟᱨᱴᱣᱟᱨᱠ ᱥᱟᱶ ᱾ ᱭᱩᱱᱤᱵᱷᱟᱨᱥᱟᱞ ᱤᱱᱴᱚᱨᱱᱮᱥᱱᱟᱞ ᱯᱤᱪᱠᱚᱨᱥ ᱫᱚ ᱟᱹᱱᱟᱹᱨᱤ ᱠᱟᱹᱢᱤ ᱦᱚᱨᱟ ᱛᱮ ᱜᱚᱡ ᱮᱱᱟ, ᱟᱨ ᱴᱮᱯ ᱫᱚ ᱦᱮᱡ ᱮᱱᱟ ᱟᱨ ᱛᱟᱭᱚᱢ ᱛᱮ ᱮᱴᱟᱜ ᱪᱤᱛᱟᱹᱨ ᱥᱟᱶ ᱮ ᱨᱤᱞᱤᱡᱽ ᱠᱮᱫᱼᱟ ᱾

᱑᱙᱘᱔ ᱥᱮᱨᱢᱟ ᱨᱮᱭᱟᱜ 3 ᱯᱷᱮᱵᱽᱵᱨᱩᱭᱟᱹᱨᱤ ᱨᱮ ' ᱵᱷᱤᱰᱤᱣ ᱱᱟᱥᱴᱤ ' ' ᱰᱟᱭᱴᱢᱮᱨᱮᱥ ᱤᱱ ᱮ ᱰᱮᱢᱟᱡᱰ ᱵᱽᱨᱮᱤᱱ ' (1981) ᱵᱤᱪᱷᱱᱟᱣ ᱞᱟᱹᱜᱤᱫ ᱜᱨᱟᱱᱴ ᱫᱚ ᱡᱮᱦᱳᱞ ᱨᱮᱭ ᱫᱚᱦᱚ ᱞᱮᱱᱟ ᱾ ᱜᱮᱨᱟᱱᱴ ᱫᱚ " ᱩᱪᱷᱟᱹᱱ ᱞᱟᱹᱜᱤᱫ ᱢᱤᱫᱴᱟᱝ ᱚᱵᱚᱞᱥᱤᱱ ᱚᱱᱚᱞ ᱨᱮᱭᱟᱜ 200 ᱠᱷᱚᱱ ᱦᱚᱸ ᱡᱟᱹᱥᱛᱤ ᱠᱚᱯᱤ ᱫᱚᱦᱚ ᱞᱟᱹᱜᱤᱫ 6 ᱪᱟᱸᱫᱳ ᱡᱮᱦᱚᱞ ᱨᱮ ᱠᱚ ᱜᱚᱡ ᱞᱮᱫᱮᱭᱟ ᱾ ᱩᱱᱤ ᱚᱵᱚᱞᱥᱤᱱᱤ ᱯᱨᱚᱠᱞᱤᱥᱚᱱ ᱟᱹᱱ ᱨᱮᱭᱟᱜ ᱫᱚᱥᱟᱨ ᱛᱷᱚᱱᱚᱛ ᱨᱮ ᱫᱚᱠᱷᱟᱹᱭ ᱧᱟᱢ ᱞᱮᱱᱟ ᱾ ᱞᱟᱹᱞᱤᱥ ᱚᱠᱛᱚ ᱜᱨᱟᱱᱴ ᱨᱮᱱ ᱨᱩᱠᱷᱟᱹᱭᱤ ᱮ ᱛᱟᱦᱮᱸ ᱠᱟᱱᱟ ᱡᱮᱯᱷᱨᱤ ᱨᱚᱯᱟᱨᱴᱥᱚᱱ ᱾ ᱜᱨᱟᱱᱴ ᱡᱮᱦᱟᱹᱞ ᱨᱮ ᱫᱚᱦᱚ ᱛᱟᱭᱚᱢ , ᱳᱣᱟᱨᱞᱰ ᱚᱯᱷ ᱵᱷᱤᱰᱤᱣ 2000 (ᱟᱨ ᱱᱚᱶᱟ ᱨᱮᱭᱟᱜ ᱢᱩᱲᱩᱫ ᱠᱳᱢᱯᱟᱱᱤ ᱮᱯᱨᱤᱞ ᱮᱞᱴᱨᱚᱱᱤᱠᱥ) ᱫᱚ ᱞᱤᱠᱩᱰᱤᱵᱷᱮᱥᱚᱱ ᱨᱮ ᱫᱚᱦᱚ ᱦᱩᱭ ᱞᱮᱱᱟ ᱾

ᱥᱞᱟᱯᱷ ᱚᱵᱟᱨᱵᱷᱟᱨ ᱫᱚ ᱞᱟᱹᱞᱤᱥ ᱞᱮᱫᱟᱭ ᱡᱮ ᱜᱽᱨᱟᱱᱴ ᱫᱚ ᱢᱤᱫ ᱦᱚᱲ ᱰᱨᱟᱜᱽ ᱰᱮᱞᱟᱨ ᱛᱟᱦᱮᱸ ᱠᱟᱱᱟ ᱟᱨ ᱩᱛᱛᱚᱨ ᱥᱟᱭᱯᱨᱚ ᱨᱮ ᱟᱭᱟᱜ ᱚᱠᱛᱚ ᱨᱮ ᱜᱮᱞ ᱜᱮᱞ ᱜᱚᱴᱟᱝ ᱜᱤᱫᱽᱨᱟᱹ ᱠᱚ ᱵᱟᱹᱲᱤᱡ ᱞᱮᱫ ᱠᱚᱣᱟ ᱾

᱑᱙᱙᱑ ᱥᱟᱹᱦᱤᱛ ᱨᱮ ᱩᱱᱤ ᱫᱚ ᱜᱚᱡ ᱞᱮᱱᱟ ᱢᱮᱱᱛᱮ ᱢᱚᱱᱮ ᱦᱩᱭᱩᱜ ᱠᱟᱱᱟ ᱩᱱᱤ ᱢᱤᱫᱴᱟᱝ ᱱᱚᱛᱷᱤ ᱜᱚᱡ ᱨᱮᱭᱟᱜ ᱜᱷᱟᱹᱞ ᱞᱮᱱᱟ ᱾

ᱯᱷᱤᱞᱢᱳᱜᱽᱨᱟᱯᱷᱤ

Year	Title	Role	Notes
1969	Love Variations	Director (as Terry Gould)
1970	Sex, Love and Marriage	Director (as Terry Gould)
1972	Sinderella	Co-producer, writer
	Au Pair Girls	Story
1973	Snow White and the Seven Perverts	Co-producer, writer
	Secrets of a Door-to-Door Salesman	Producer
1974	The Over-Amorous Artist	Producer	Re-released in 1975 as Just One More Time
	The Great McGonagall	Producer
1975	Pink Orgasm		Uncompleted, footage later edited into Who Bears Sins
	Girls Come First	Co-producer
1976	Dear Marjorie Boobs	Producer
	The Office Party	Director, producer, writer
	Escape to Entebbe	Co-director, producer
1977	Under the Bed	Director, co-producer
	Submission	Director
	Over Exposed		Footage later edited into Who Bears Sins
	The Kiss	Co-producer
	Marcia	Co-director, script
1978	End of Term	Producer
	You're Driving Me Crazy	Co-writer, director
	Love is Beautiful		Unfilmed
1979	The London Programme	Interviewee	TV
1980	Electric Blue 001	None	Video, includes Snow White and the Seven Perverts
1987	Who Bears Sins	Director	Video compilation

ᱜᱽᱨᱟᱱᱴ ᱫᱟᱨᱟᱭ ᱛᱮ ᱦᱟᱹᱴᱤᱧ ᱟᱠᱟᱱ ᱯᱷᱤᱞᱢ

ᱵᱽᱨᱤᱴᱤᱥ ᱥᱮᱱᱥᱳᱨ ' ᱵᱟᱛᱟᱣᱟᱜ ' ᱪᱤᱱᱦᱟᱹᱣᱟᱱ ᱧᱩᱛᱩᱢ ᱠᱚ ᱦᱟᱹᱴᱤᱧ ᱞᱟᱹᱜᱤᱫ ᱮ ᱵᱟᱭ ᱵᱟᱛᱟᱶ ᱞᱮᱫᱟ ᱟᱨ ᱚᱱᱟᱛᱮ ᱚᱱᱟ ᱠᱚ ᱵᱟᱛᱟᱣᱟᱜ ᱞᱮᱫᱟ ᱾ ᱛᱟᱹᱞᱤᱠᱟ ᱫᱚ ᱪᱚᱞᱚᱛᱪᱤᱛᱟᱹᱨ ᱨᱮᱭᱟᱜ ᱟᱥᱚᱞ ᱵᱮᱱᱟᱣ ᱨᱮᱭᱟᱜ ᱛᱟᱹᱞᱤᱠᱟ ᱠᱷᱚᱱ ᱯᱟᱥᱱᱟᱣ ᱥᱮᱨᱢᱟ ᱮ ᱩᱫᱩᱜᱟ ᱾