Sadomasochism: Descent Into Darkness
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By Anne-Sophie Adelys
by Anne-Sophie Adelys © Anne-Sophie Adelys - 2013 - www.adelys.co.nz © Anne-Sophie Adelys - 2013 - www.adelys.co.nz 3 © Anne-Sophie Adelys - 2013 - www.adelys.co.nz © Anne-Sophie Adelys - 2013 - www.adelys.co.nz My name is Anne-Sophie Adelys. I’m French and have been living in New Zealand since 2001. I’m an artist. A painter. Each week I check “The Big idea” website for any open call for artists. On Saturday the 29th of June 2013, I answered an artist call titled: “Artist for a fringe campaign on Porn” posted by the organisation: The Porn Project. This diary documents the process of my work around this project. I’m not a writer and English is not even my first language. Far from a paper, this diary only serves one purpose: documenting my process while working on ‘The Porn Project’. Note: I have asked my friend Becky to proof-read the diary to make sure my ‘FrenchGlish’ is not too distracting for English readers. But her response was “your FrenchGlish is damn cute”. So I assume she has left it as is… © Anne-Sophie Adelys - 2013 - www.adelys.co.nz 4 4 © Anne-Sophie Adelys - 2013 - www.adelys.co.nz The artist call as per The Big Idea post (http://www.thebigidea.co.nz) Artists for a fringe campaign on porn 28 June 2013 Organisation/person name: The Porn Project Work type: Casual Work classification: OTHER Job description: The Porn Project A Fringe Art Campaign Tāmaki Makaurau/Auckland, Aotearoa/New Zealand August, 2013 In 2012, Pornography in the Public Eye was launched by people at the University of Auckland to explore issues in relation to pornography through research, art and community-based action. -
Deviant Dreams: Extreme Associates and the Case for Porn
City University of New York Law Review Volume 10 Issue 1 Winter 2006 Deviant Dreams: Extreme Associates and the Case for Porn Sienna Baskin CUNY School of Law Follow this and additional works at: https://academicworks.cuny.edu/clr Part of the Law Commons Recommended Citation Sienna Baskin, Deviant Dreams: Extreme Associates and the Case for Porn, 10 N.Y. City L. Rev. 155 (2006). Available at: 10.31641/clr100108 The CUNY Law Review is published by the Office of Library Services at the City University of New York. For more information please contact [email protected]. Deviant Dreams: Extreme Associates and the Case for Porn Acknowledgements The author would like to thank Professor Ruthann Robson, Professor Andrea McArdle, Lena Ramon, and Davim Horowitz. This article is available in City University of New York Law Review: https://academicworks.cuny.edu/clr/vol10/iss1/9 DEVIANT DREAMS: EXTREME ASSOCIATES AND THE CASE FOR PORN, Sienna Baskin* There's a difference between watching entertainment and feeling hey, that's not my, you know, cup of tea. I could do without seeing that for the next [thirty] years of my life, and saying, "You know what? The person who made that should go to prison. "2 [A] person's inclinations and fantasies are his own and beyond the reach of government.3 INTRODUCTION: THE FIRST BATrLE IN THE WAR ON PORN "I guess this means we've won the war on terror," responded one frustrated FBI agent when he learned of the government's new priority for investigations and prosecutions: obscene pornogra- phy.4 Attorney General Gonzales has announced his intention to resurrect the federal obscenity statutes, which have lain virtually unused for a decade, to prosecute purveyors of pornography whose products violate community standards.5 His public statements on the subject make clear that the campaign will target obscenity 1 The term pornography and its abbreviation will be used interchangeably in this essay. -
Developing a National Action Plan for Eliminating Sex Trafficking
Developing a National Action Plan for Eliminating Sex Trafficking Final Report August 16, 2010 Prepared by: Michael Shively, Ph.D. Karen McLaughlin Rachel Durchslag Hugh McDonough Dana Hunt, Ph.D. Kristina Kliorys Caroline Nobo Lauren Olsho, Ph.D. Stephanie Davis Sara Collins Cathy Houlihan SAGE Rebecca Pfeffer Jessica Corsi Danna Mauch, Ph.D Abt Associates Inc. 55 Wheeler St. Cambridge, MA 02138 www.abtassoc.com Table of Contents Preface ..................................................................................................................................................ix Acknowledgements....................................................................................................................xii Overview of the Report.............................................................................................................xiv Chapter 1: Overview ............................................................................................................................1 Project Background......................................................................................................................3 Targeting Demand .......................................................................................................................3 Assumptions about the Scope and Focus of the National Campaign...........................................5 The National Action Plan.............................................................................................................6 Scope of the Landscape Assessment............................................................................................7 -
Achter De Schermen Achter Een Verkennend Onderzoek Naar Downloaders Van Kinderporno
In dit verkennende onderzoek wordt getracht enig licht te werpen op het fenomeen Achter deschermen downloaden van kinderporno en met name op de persoon van downloaders. Wat is in de literatuur en bij opsporings- en hulpverleningsinstanties bekend over de achtergronden - geslacht, leeftijd, etniciteit - en motieven van downloaders? Gaat het uitsluitend om het downloaden en verzamelen van afbeeldingen of speelt Achter de schermen een seksuele voorkeur voor kinderen ook mee? Hoe functioneert de markt van vraag en aanbod wat betreft kinderporno op het internet en welke rol spelen Anton vanWijk,AnnemiekNieuwenhuisenAngeline Smeltink Een verkennend onderzoek naar downloaders van kinderporno downloaders: zijn zij enkel afnemers of ook producenten van kinderporno? Ook de manieren waarop downloaders opereren en proberen uit handen te blijven van de politie passeren de revue. Verder wordt beschreven wat bekend is over de omvang van het kinderporno- grafi sch beeldmateriaal dat op het internet te vinden is. Wat is de leeftijd van de afgebeelde kinderen en om welke seksuele poses gaat het? Uit het onder- zoek blijkt dat er verschillende profi elen van downloaders zijn te onderscheiden. Die profi elen behoeven door middel van vervolgonderzoek nog nadere inkleuring en toetsing. Voor de opsporing is het van groot belang om meer zicht te krijgen op de besloten netwerken op internet waar vaak grove vormen van kinderporno worden verhandeld en uitgewisseld. Anton van Wijk Annemiek Nieuwenhuis ISBN 978-90-75116-56-4 Angeline Smeltink Achter de schermen Achter de schermen Een verkennend onderzoek naar downloaders van kinderporno Anton van Wijk Annemiek Nieuwenhuis Angeline Smeltink In opdracht van Programma Politie & Wetenschap Omslagillustratie en vormgeving Marcel Grotens Drukwerk GVO Drukkers & Vormgevers B.V. -
Distance and Empathy: Constructing the Spectator of Annie Sprinkle's Post-POST PORN MODERNIST—Still in Search of the Ultimate Sexual Experience
Spring 1993 177 Distance and Empathy: Constructing the Spectator of Annie Sprinkle's Post-POST PORN MODERNIST—Still in Search of the Ultimate Sexual Experience Angelika Czekay Today, after seventeen years in the porn industry, ex-sex worker Annie Sprinkle is a performance artist. In her recent performance piece "Post-Post Porn Modernist Still in Search of the Ultimate Sexual Experience," Sprinkle talks about her life as a former porn star and ex-prostitute. The show's topic is sex, which Sprinkle "understands as her hobby, politics, spiritual experience, expertise, main subject matter . and the key to her great health and happiness" (Program note, Theatre Oobleck, October 1991). The performance is visually graphic: Sprinkle urinates and douches on stages, invites the spectator to look at her cervix, performs a "bosom ballet," and introduces sex toys for the fulfillment of various sexual desires. In a series of loosely linked segments, her narration moves through the different stages in her life and reveals its changes, both in job and attitude. To complement her stories, Sprinkle uses sets of slides; for instance, the "pornstistics" [sic], showing an image of the Empire State Building as a demonstration of the length of all the penises she "sucked," or a diagram that reveals in percentages her reasons for becoming a sex worker. I had the opportunity to see Sprinkle's performance piece on two separate occasions and in two different cultural contexts in 1991, once in Berlin in July and once in Chicago in October. Although the performance had basically remained the same, my reactions were almost directly opposite. -
The Myth of Obsolete Obscenity (20160511) (Do Not Delete) 5/11/2016 1:33 PM
Kinsley, The Myth of Obsolete Obscenity (20160511) (Do Not Delete) 5/11/2016 1:33 PM THE MYTH OF OBSOLETE OBSCENITY JENNIFER M. KINSLEY* INTRODUCTION ................................................................................. 609 I. BACKGROUND................................................................................ 610 A. Federal Obscenity Laws ................................................... 610 1. Miller v. California..................................................... 611 2. Smith v. California ..................................................... 612 3. Pope v. Illinois ............................................................ 612 B. State Obscenity Laws and Local Ordinances ................... 612 C. Current Scholarship on Obscenity Prosecutions .............. 614 II. OBSCENITY PROSECUTIONS FROM 2000 TO PRESENT .................... 615 A. Federal Prosecutions ....................................................... 615 1. The Bush Administration Prosecutions: Cases Initiated and Concluded from 2003 to 2008 ............. 617 a. Extreme Associates ............................................... 617 b. The Ragsdales ....................................................... 618 c. Patrick J. O’Malley ............................................... 618 d. Jeffrey Kilbride and James Schaffer ..................... 619 e. Karen Fletcher ....................................................... 620 f. Adult DVD Empire................................................ 621 g. The Harb Cousins ................................................ -
Complicated Views: Mainstream Cinema's Representation of Non
University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. DOI: by Eliot W. Blades Thesis for the degree of Doctor of Philosophy May 2020 University of Southampton Abstract Faculty of Arts and Humanities Department of Film Studies Thesis for the degree of Doctor of Philosophy Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. by Eliot W. Blades This thesis examines a number of mainstream fiction feature films which incorporate imagery from non-cinematic moving image technologies. The period examined ranges from the era of the widespread success of television (i.e. -
Part Two: Synaesthetic Cinema: the End of Drama
PART TWO: SYNAESTHETIC CINEMA: THE END OF DRAMA "The final poem will be the poem of fact in the language of fact. But it will be the poem of fact not realized before." WALLACE STEVENS Expanded cinema has been expanding for a long time. Since it left the underground and became a popular avant-garde form in the late 1950's the new cinema primarily has been an exercise in technique, the gradual development of a truly cinematic language with which to expand further man's communicative powers and thus his aware- ness. If expanded cinema has had anything to say, the message has been the medium.1 Slavko Vorkapich: "Most of the films made so far are examples not of creative use of motion-picture devices and techniques, but of their use as recording instruments only. There are extremely few motion pictures that may be cited as instances of creative use of the medium, and from these only fragments and short passages may be compared to the best achievements in the other arts."2 It has taken more than seventy years for global man to come to terms with the cinematic medium, to liberate it from theatre and literature. We had to wait until our consciousness caught up with our technology. But although the new cinema is the first and only true cinematic language, it still is used as a recording instrument. The recorded subject, however, is not the objective external human con- dition but the filmmaker's consciousness, his perception and its pro- 1 For a comprehensive in-depth history of this development, see: Sheldon Renan, An Introduction to the American Underground Film (New York: Dutton Paperbacks, 1967). -
The 2008 Federal Obscenity Conviction of Paul Little and What It Reveals About Obscenity Law and Prosecutions
The 2008 Federal Obscenity Conviction of Paul Little and What It Reveals About Obscenity Law and Prosecutions Robert D. Richards* and Clay Calvert** ABSTRACT This Article provides an inside perspective on the 2008 obscenity trial and conviction of veteran adult movie producer Paul Little, who is known in the adult industry as Max Hardcore. Little was sentenced by a federal judge to nearly four years in prison after a twelve-person jury in Tampa, Florida found him guilty of multiple counts of selling and distributing obscene content via the U.S. Mail and Internet. The Article centers around comments and remarks drawn from four exclusive interviews conducted in person by the authors with: (1) Jeffrey Douglas, the California-based attorney who represented and defended Paul Little in United States v. Little; (2) H. Louis Sirkin, the Ohio-based attorney who represented and defended the corporate entities controlled by Paul Little in United States v. Little; (3) Mark Kernes, Senior Editor of Adult Video News, a leading adult entertainment industry trade publication, and the journalist who covered the trial of Paul Little; and (4) Larry Flynt, the publisher of Hustler magazine and head of the LFP, Inc. adult entertainment * Distinguished Professor of Journalism & Law and Founding Co-Director of the Pennsylvania Center for the First Amendment, The Pennsylvania State University, University Park, PA. J.D., The American University, 1987; M.A., Communication, The Pennsylvania State University, 1984; B.A., Communication, The Pennsylvania State University, 1983. Member, State Bar of Pennsylvania. The authors thank Thomas Markey and Patrick Hanifin of The Pennsylvania State University for reviewing an early draft of this Article. -
Legacy of Lords: the New Federal Crackdown on the Adult Entertainment Industry's Age-Verification and Record-Keeping Requirements
UCLA UCLA Entertainment Law Review Title The Legacy of Lords: The New Federal Crackdown On the Adult Entertainment Industry's Age-Verification and Record-Keeping Requirements Permalink https://escholarship.org/uc/item/0xj116dt Journal UCLA Entertainment Law Review, 14(2) ISSN 1073-2896 Authors Richards, Robert D. Calvert, Clay Publication Date 2007 DOI 10.5070/LR8142027097 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Legacy of Lords: The New Federal Crackdown On the Adult Entertainment Industry's Age- Verification and Record-Keeping Requirements By Robert D. Richards* & Clay Calvert** I. INTRODUCTION ........................................... 156 II. METHODOLOGY AND PROCEDURES ...................... 168 III. THE INTERVIEWS ........................................ 169 A. Underage Performers in the Adult Industry .......... 169 B. Why Now? Motivating Forces Behind the §2257 Inspections ........................................... 174 C. The Effectiveness and Usefulness of Section §2257 ... 179 D. What Took Place at the Washington, D.C., Meeting w ith the FBI ......................................... 183 E. The Burdens and Steps of Complying With Section §2257 ................................................ 187 F. Privacy Concerns Raised by Section §2257 ........... 193 * Professor of Journalism & Law and Founding Co-Director of the Pennsylvania Center for the First Amendment at The Pennsylvania State University. B.A., 1983, M.A. 1984, Communication, The Pennsylvania State University; J.D., 1987, The American University. Member, State Bar of Pennsylvania. The authors gratefully thank the eight individuals inter- viewed for this article who took time out of their own busy schedules to meet with the authors; the authors also thank them for their trust of two members of the professoriate, a group not generally known to listen rationally to the views of people associated with the adult entertainment industry. -
Sanitizing the Seventies Pornography, Home Video, and the Editing of Sexual Memory
WHITNEY STRUB Sanitizing the Seventies Pornography, Home Video, and the Editing of Sexual Memory ABSTRACT During the 1980s US feminist sex wars, pornography edited its own history, leav- ing a distorted record both less problematic and less queer than scholars have yet recognized. Academic inquiry into pornography coincided with home-video boom years, and research often took place in adult backrooms, necessarily because pornography was so poorly archived. Yet even as access has shifted from VHS to digital, the field has yet to reckon with how its interpre- tive frameworks were shaped by a material history in which the films that scholars watched were often altered from the versions patrons had seen in theaters. Gone from both straight and gay films were many transgressive sex acts that had frequently been staples of the genre, affecting the perceived oeuvre of nearly every hardcore filmmaker of the era. This article recov- ers the lost history of sexual media editing, arguing for a more carefully historicized interro- gation of the commercial sources of our porn archives. KEYWORDS censorship, home video, new video studies, pornography, sex wars At the height of the s feminist sex wars, pornography edited its own history. Few noticed and no official archives recorded or preserved this change, but the interpretive stakes were, and remain, high. Scenes disappeared, and with them the social meanings of texts, resulting in a disconnect between embodied histori- cal experiences and the later textual interpretations of those works. The pornog- raphy industry sanitized its s iterations, leaving a distorted record that narrowed the scope of its erotic imaginary in ways that left it both less misogy- nistic and less expansive, a triumph of the banal and the genital that necessitates intervention, since the “porno chic” that scholars have inherited is in large part an industrial memory production of the sands, as pornography’shis- tory was quietly disciplined and revised over the course of its various platform adaptations. -
List of All Porno Film Studio in the Word
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