Funded! This project was successfully funded on July 12, 2011.

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A documentary film about the fall of the Exotic World museum and the simultaneous rise of American neo-burlesque.

Thank you all so much for getting us to our Kickstarter goal!  We have a few days left and are happy to keep offering the great premiums for your generosity.   Anything we raise OVER our goal will continue to go towards finishing costs.  Currently, we are investigating upgrading the film from SD to HD.  (Yes, when we started 10 years ago we didn't shoot in HD!) We are thankful for your pledges these final days.

Exotic World and the Burlesque Revival is a documentary about former striptease dancer Dixie Evans (the Marilyn Monroe of Burlesque), who uses her social security check to transform a goat farm in the middle of the Mojave Desert into the world’s only museum devoted to striptease.

As she builds the museum—called Exotic World—Evans becomes a fairy godmother to growing numbers of young women investigating vintage burlesque. Drawn by the wit, moves, and power of burlesque as a feminine erotic craft, young women begin making pilgrimages to Exotic World and Evans' goat farm becomes ground zero of the largest burlesque revival since the 1940s.

The film captures the emergence of this inter-generational subculture at Exotic World, the histories of striptease dancers who worked during the Cold War era, as well as young women’s DIY representations of erotic femininity today.

We are previewing a sneak-peek of the film on Friday, June 3 at the Burlesque Hall of Fame reunion weekend and Miss Exotic World pageant in Las Vegas and again in Chicago on Wednesday, June 15.  

We must raise $25,000 to release this film!  Our campaign covers a portion of what we need for finishing costs (mastering, archival footage, music licensing, color correction, etc.) and anything over our goal will go towards the other major aspects of releasing the film like: festival applications, distribution, etc.

PLEASE JOIN OUR CAMPAIGN TO GET THIS FILM RELEASED!

Stars of the film include:

Dixie Evans, Satan's Angel, Tempest Storm, Bambi Jones, Tura Satana, Kitten Natividad, Dirty Martini, World Famous *BOB*, Indigo Blue, and narrated by Margaret Cho.

The Filmmakers:

Producer/Director Red Tremmel is a Professor of history, sexuality, gender, and leisure, who received a Ph.D. from the University of Chicago. Red is currently a Visiting Assistant Professor at Tulane University in New Orleans and a fellow of Columbia College’s Ellen Stone Belic Institute for the Study of Women and Gender in the Arts and Media Fellowship Program. Red has taught at The Evergreen State College and Portland State University and been funded by the Social Science Research Council’s Sexuality Research Fellowship Program; the University of Chicago’s Center for Gender Studies Fellowship Program; the James Hormel Sexuality Fellowship Program; and, the Lesbian and Gay Studies Project.

Co-Producer/Story Editor Courtney Hermann is an independent documentary filmmaker and educator from Portland, Oregon. Courtney holds an MFA in Film and Video Production from Columbia College Chicago and is the Assistant Department Director of and a faculty member in the Digital Film and Video department at the Art Institute of Portland.  Courtney produced the award-winning documentary Standing Silent Nation, which aired nationally on PBS’s Emmy-award winning documentary series, P.O.V. Praised by The New York Times, the documentary was featured at the Smithsonian Institution’s Museum of the American Indian in Washington, D.C., and won the audience award at several film festivals, including the Sedona International Film Festival.

Editor Kerribeth Elliott is a freelance media producer and editor from Portland, Oregon.  Kerribeth holds a BA in Film and Video Production from Columbia College in Chicago.  Kerribeth crewed on the award-winning documentary Standing Silent Nation in several different capacities from development to distribution.

Co-Producer/Assistant Director Gwen Lis is an independent documentary filmmaker and currently owns a videography company in New England. Gwen holds a BA from Sarah Lawrence College and is a graduate of NYC’s Avid Media Video Editing Master Program.  

Post-Production Coordinator Ali Cotterill is a film and video editor out of Brooklyn, NY. Ali earned undergraduate degrees in English and Gender Studies from Oberlin College, and in Digital Film and Video from the Art Institute of Portland. Ali's films have screened internationally at 100+ festivals, including six international touring programs, as well as on Logo TV and Current TV. 

The Crew: Producer/Director Red Tremmel; Co-Producers Jessica Halem, Courtney Hermann, Gwen Locke Lis; Editor Kerribeth Elliott; Story Editor Courtney Hermann; Assistant Director Gwen Locke Lis; Director of Photography MJ Rizk; Camera Operators Ronit Bezalel, Kerribeth Elliott, Courtney Hermann, Gwen Locke Lis; Production Sound Ronit Bezalel, Kerribeth Elliott, Courtney Hermann, Gwen Locke Lis; Production Assistants KJ Mohr, Lisa Samra; Post-Production Coordination Ali Cotterill; Sound Designer Colin O'Neill; Post-Production Assistance Jessy Hoffman, Ruth Robbins; Interns Nat Wall, Jennie Rose Comfort Willingham; Music Bell Plaines.

We must raise $25,000 for finishing costs to get this film released! 

FAQ

  • A. Music Licensing Fees.
    Just like in burlesque, music plays a pivotal role in our film. We are committed to using the music that performers use in their acts and paying the musicians who made the music for the use in our film. The music that performers' chose best represents what the performer was expressing. Unfortunately, much of that music is very expensive even for documentary, independent projects. These fees range, but a typical song may cost anywhere from $2,500 to $5,000 each.
    B. Archival Footage Fees.
    After going through hours and hours of archival footage from private collectors, libraries, and footage houses, we have selected some of the best representations of burlesque as it was. Every source, including libraries, require that we pay a fee for each second, which range between $25 and $75 per second.
    C. Film Festivals.
    We cannot be accepted into film festivals without having permission from the owners of the music and archival footage. It also costs between $25 and $100 to submit to a festival.
    D. Sound mixing, color correction, mastering, etc.
    Your support, whatever size, makes a huge difference.

    Last updated:
  • While the Chicago shows were a huge success, a documentary of this scope is extremely expensive to make and those fundraisers only covered a portion of our expenses. The money we raised several years ago was used to cover our production costs (for the burlesque shows and for filming) and for some of our post-production. Production costs included air transportation for 2-5 people to the Mojave Desert several times a year for 5 years; housing; meals; and car rentals. Post-production costs have included editing equipment purchases and rentals as well as transportation and sound recordings. Though our Chicago shows were crucial to post-production, they were not enough to cover this very expensive process all the way to the end. We know everyone who has been a part of this process from the beginning wants to see this film released as much as we do!

    Last updated:
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Funding period

- (45 days)