SS, starring Nicolas Cage and Udo Kier. According to Zombie, "Basically, I had two ideas. It was either going to be a Nazi movie or a women-in-prison film, and I went with the Nazis. There's all those movies like Ilsa, She Wolf of the SS; Fräulein Devil; and Love Camp 7—I've always found that to be the most bizarre genre." On December 18, 2007, Zombie posted an entry on his MySpace page, asking if people would want to see a feature-length version of Werewolf Women of the SS. Iron Sky and Nazis at the Center of the Earth (both released in 2012) are in a similar vein. Themes Most of the Nazi exploitation films have stalag settings with young female inmates like Women's Camp 119. Their tormentors are female or male Nazi officers in SS uniforms, usually speaking with a fake German accent and irrelevant or mispronounced German words, who often use "experiments" as excuses to implement sadistic physical violence (perhaps inspired by the work of people like Josef Mengele, who performed medical experiments that often killed people). There are scenes of sexual conduct or, more routinely, exposed nude bodies of the victimised inmates. The level of violence depicted in these films may often reach the gore level. This genre mainly focused on female SS officers. It presented them as lusty as well as buxom women, such as Dyanne Thorne's Ilsa, who also sexually abused their male prisoners (mainly in non-statutory female-on-male rape fashion). As the setting is a Stalag (prisoner-of-war camp), not a concentration camp, the prisoners are mainly Allied soldiers, not Jewish civilians. There are also many films that do not follow the conventions of Nazi exploitation, such as Bordel SS (1978) of José Bénazéraf (one of the very few Nazi exploitation films to hold the dubious honor of having actual hardcore sex) and Salon Kitty (1976) of Tinto Brass. These films are not usually considered as "prototypical" Nazi exploitation films and qualify more for the "art house" subgenre. However, because of the vague term, even the film Il portiere di notte (The Night Porter) (1974) by Liliana Cavani that (in the opinion of many) lacks the exploitation motive, may be deemed one such film. Laura Frost's book Sex Drives: Fantasies of Fascism in Literary Modernism (2002) () says that the genre is part of a problematic attempt to link political deviance (i.e. fascism, militarism, genocide) with sexual