Erotische censuur : De seksuele revolutie in gecensureerde pornografische filmposters in België (1971-1980)

Erotic Censorship: The Second Sexual Revolution in Censorship of Pornographic Movie Posters in Belgium (1970-1980)This article studies the relationship between the second sexual revolution, pornography, and censorship by analyzing censorship of pornographic film posters in Belgium between 1970 and 1980. The prosecution of offences against decency declined in the Belgian courts throughout the seventies, which inspired changes in censorship practices. However, censorship was not only a restrictive power, allowing or prohibiting certain practices, but also led to the production of new content. The creative use of tape in film posters reveals how cinema managers used censorship to create more interest in their movies. Paradoxically, a period of increasing freedom produced a more visible form of censorship. My main conclusion is that censorship played a fundamental role in the eroticization of the public space during the second sexual revolution, thus complicating the apparent contradiction between the second sexual revolution and censorship.

Every Detail Counts: Robert Stoller, Perversion and the Production of Pornography

After the publication of his pioneering book Sexual Excitement in 1979, Robert Stoller devoted the last 12 years of his life to the study of the pornographic film industry. To do so, he conducted an ethnographic study of people working in the industry in order to find out how it produced ‘perverse fantasies’ that successfully communicated sexual excitement to other people. In the course of his investigation he observed and interviewed those involved in the making of pornographic films. He hypothesized that the ‘scenarios’ developed and performed by people in the porn industry were based on their own perverse fantasies and their frustrations, injuries and conflicts over sexuality and gender; and that the porn industry had developed a systematic method and accumulated a sophisticated body of knowledge about the production of sexual excitement. This paper explores Stoller's theses and shows how they fared in his investigation.

Faktor Penglibatan Remaja dalam Salah Laku Seksual: Kajian Terhadap Remaja Hamil Luar Nikah di Pusat Pemulihan Akhlak Negeri Selangor

The young generation today is deemed as the human capital for the country in the future. This generation would be responsible in implementing and shaping the country’s leadership and development. Nevertheless, the issues relating to the teenagers’ involvement in social problems in the country has set a concern especially on the escalating number of premarital pregnancies among teenagers. Statistics from the Ministry of Health has shown a total of 79,302 cases involving premarital pregnancies among teenagers below 18 years of age within 5 years starting from the year 2012 to 2016. This qualitative case study research aims to bring forth the main factors of teenagers’ involvement in sexual misconduct which has led to premarital pregnancies. The findings were obtained through a partial structured interview method with an administrator, a warden from Selangor Rehabilitation Centre and four teenagers who involved in sexual misconduct. All informants were selected using a purposive sampling method. The transcription of the interview was analysed to structure the themes and sub themes of the data. The overall findings found that the main factors for teenagers’ involvement in sexual misconduct were due to several causes: love, voluntarily act, rape, pornographic film and video, weakness in family institutions, family conflicts, ignorance and weak religious practice, peer influence, drug addiction and involvement in illegal racing. The outcome from this research is hoped to assist all parties in curbing this problem related to sexual misconduct and premarital pregnancies among teenagers in this country. ABSTRAK Generasi remaja pada hari ini merupakan modal insan negara pada masa akan datang. Peranan mencorak kepimpinan dan pembangunan negara pada masa hadapan bakal dilaksanakan oleh mereka. Namun, pendedahan berita pelbagai isu berkaitan keterlibatan remaja dalam gejala sosial yang berlaku dalam negara mencetus keadaan yang sangat membimbangkan antaranya peningkatan kes hamil tanpa nikah golongan remaja. Statistik Kementerian Kesihatan Malaysia mencatatkan sebanyak 79,302 kes remaja bawah 18 tahun hamil tanpa nikah dalam tempoh lima (5) tahun iaitu bermula dari tahun 2012-2016. Artikel ini bertujuan mengemukakan faktor-faktor penglibatan remaja dalam salah laku seksual sehingga hamil tanpa nikah. Kajian ini berbentuk kualitatif dengan reka bentuk kajian kes. Data kajian diperolehi menerusi kaedah temubual separa struktur terhadap seorang pentadbir, seorang warden di Pusat Pemulihan Akhlak di Negeri Selangor serta empat orang remaja yang hamil tanpa nikah. Kesemua informen kajian dipilih melalui kaedah persampelan bertujuan. Transkripsi temubual dianalisis untuk pembentukan tema dan sub tema. Dapatan kajian mendapati bahawa antara faktor penglibatan remaja dalam salah laku seksual ialah kerana percintaan dan kerelaan sendiri, mangsa rogol, menonton video dan filem porno, kelemahan institusi keluarga, konflik dalam keluarga, kejahilan dan pengabaian amalan beragama, pengaruh rakan sebaya, pengambilan pil khayal dan penglibatan dalam perlumbaan haram. Diharapkan dapatan ini dapat membantu semua pihak dalam usaha membendung gejala ini daripada terus meningkat.

Computer-generated pornography and convergence: Animation and algorithms as new digital desire

This article is one of the first to consider the digital phenomenon of computer-generated imagery (CGI) pornography, a highly significant site of convergence that combines the technologies, cultures and aesthetics of digital animation, video games and pornographic film. As much of this controversial new content is produced through the hacking of licensed video game franchises, CGI pornography typifies the democratic possibilities of the digital economy. However, this bizarre digital subculture exemplifies too the tension between ludic and labour-intensive digital practises: its production is embedded simultaneously in the anti-productive play of gaming, hacking and pornography, and in the intensive, neo-liberal labour practises associated with free labour and the video game industry. This article explores CGI porn as a specific site of convergence that fundamentally alters the aesthetics and function of digital pornography and relatedly the libidinal subject that is interpolated in this crucial aspect of digital culture. The filmic genre of pornography has a long tradition of producing affective engagement through vicarious access to the material body; its evocations of veracious materiality and presence are only amplified in a digital culture of virtuality and dematerialization. This article analyses how the technological construction of CGI porn is foregrounded in its images and films, highlighting the codes and patterns of the genre and blending them with a stark revelation of the restrictions and capabilities of CGI technology. The article explores how multiple instances of hypermediacy and hypersignification in CGI porn expose and affectively engage with the fact of convergence itself: that is, revealing technological capacities and limitations of digital animation and eroticizing its interpenetration with the films’ diegeses, aesthetics and representations of movement become the central function of this new cultural output. The libidinal focus of this type of digital pornography fundamentally shifts, then, away from the human body and the attempt to gain vicarious imagistic access to it through digital technologies. Instead, the labour of the animator, and the coding and characters they borrow from video game designs, become the libidinal focus of computer-generated pornography. As this new digital phenomenon uncovers and eroticizes the workings of CGI, so it dismantles the veracity and materiality promised by ‘real body’ digital pornography: CGI porn’s stark foregrounding of its technological constructedness clarifies the artificiality of its ‘real body’ counterpart. This article posits, then, an important new site of convergence. Pornography is a central node in the culture, politics and economics of digital technology, and the ways in which its convergence with CGI practises and video game culture has produced not just an entirely new digital phenomenon, but has fundamentally altered digital pornography's conception of the desirous subject and the material body, are crucial.

Strange Legacies of Thought and Passion

Meanwhile, adaptations of Oscar Wilde’s queer classic The Picture of Dorian Gray extend and elaborate on explorations of the double by explicitly invoking histories of sexual representation in connection to the sensual qualities of technology and nostalgia. In chapter 5, “`Strange Legacies of Thought and Passion’: Technologies of the Flesh and the Queering Effect of Dorian Gray,” I continue my analysis of the relationship between pornography, legacy, doubles, and technology through a close examination of two films based on Wilde’s novel: Take Off (1976) and Gluttony (2001). More than any other text, Dorian Gray engenders pornographic engagement with erotic legacy and the role of technology in the erotics of representation. Like Wilde’s novel, these films interrogate beauty and mortality, haunted at the margins by Wilde’s tragic fate and the HIV/AIDS pandemic. Drawing on Wilde’s magic portrait as a predecessor, Take Off and Gluttony ruminate on mortality and relate it to the sensual, tactile qualities of evolving, mobile visual technologies and the role these technologies play in sexual subjectivity. Pornographic film, Weston and West suggest, is the inheritor to Wilde’s portrait. Both films draw on Wilde’s tale in order to address the media on which the self is captured, the shifting technologies used to exhibit this self, and the relationship of technology and media to the corporeal body. Through their reimagining of histories of Hollywood and pornographic film, respectively, Take Off and Gluttony signal the affective relationship between technology, pornography, decay, and popular culture, tracing a hardcore sexual history of the self that constitutes a sexual lineage.

Alice in Pornoland

This book argues that pornographic film relies on a particular "Victorianness" in generating eroticism—a Gothic Victorianness that is monstrous and restrained, repressed but also perverse, static but also transformative, and preoccupied with gender, sexuality, race, and time. Pornographic films enthusiastically expose the perceived hypocrisy of this Victorianness, rhetorically equating it with mainstream, legitimate culture, as a way of staging pornography’s alleged sexual authenticity and transgressive nature. Through an analysis of porn set during the nineteenth century and porn adaptations of Lewis Carroll’s Alice books, Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde, Oscar Wilde’s The Picture of Dorian Gray, and Bram Stoker’s Dracula, this book shows how these adaptations expose the implicit pornographic aspects of “legitimate” culture while also revealing the extent to which “high” and “low” genres rely on each other for self-definition. In the process, neo-Victorian pornographies draw on Gothic spaces and icons in order to situate itself as this Gothic other, utilizing the Gothic and the monstrous to craft a transformative, pornographic space. These neo-Victorian Gothic pornographies expose the way the genre as a whole emphasizes, navigates, transgresses, and renegotiates gender, sexuality, and race through the lens of history and legacy.

Women’s Pleasure Online? A Contrasting Analysis of One Japanese Mainstream and One Women’s Pornographic Film from the Internet

This paper introduces the results of a two-stage analysis of one Japanese mainstream and one women’s pornographic film from the Internet, asking whether any differences between the gender representations of both sexes can be observed, and whether these differences correspond to the films’ Western counterparts. In the first stage, the films are being analysed regarding their correspondence to characteristics of mainstream pornography and, respectively, criteria of women’s pornography, which were developed through Western feminists’ debates. The detailed case studies of the two films that were selected as examples deal with their general and sexual contents, aesthetic elements, dialogues, and the appearance of the characters. In the second stage, the gender roles are being examined. The analysis firstly confirms that both films correspond to their Western counterparts and that they contain substantial differences concerning contents, aesthetic elements, dialogues, and the quality of the displayed relationship of the characters. Secondly, the paper shows that the gender representations in the mainstream pornographic film stick to conventional gender roles related to this genre, with an emphasis on male-centered sexual practices, which are linked to the female body’s objectification. By contrast, the women’s pornographic film features-besides female-friendly sexual practices-non-sexual aspects of the relationship between the characters and introduces an alternative male role model.

A National/Transnational Genre: Pornography in Transition

The most (in)famous Swedish pornographic film from the 1970s is perhaps Fäbodjäntan (Come and Blow the Horn, 1978). In the national imagination, it has become not only iconic of an era clouded by myth and legend of Swedish sin and a golden age of porn and erotic cult movies, but also of a half-jokingly celebrated Swedishness as well. Partly this has to do with the title and the setting, as Mats Bjorkin notes in his essay on the film ‘Fäbodjäntan: Sex, Communication, and Cultural Heritage’ (2005): the fäbod is a place away from farming villages where, historically, farmers brought their animals for summer pasturage. Women followed the herds to the fäbod to watch them. Although Come and Blow the Horn takes place in contemporary times, it still plays upon this national historical image, and it is shot in the county of Dalecarlia (Dalarna) which is particularly associated with the fäbod practice. Although perhaps not the ideal of Sweden, through its director’s use of national iconography – summer, the fäbod, an alleged Viking artifact (the horn itself), skinny-dipping – and more or less unintentional comedy, the film has through the years become a part of the ‘imagined community’ (Anderson 1983) of Sweden.