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Feministické Porno Bakalářská Diplomová Práce MASARYKOVA UNIVERZITA FILOZOFICKÁ FAKULTA ÚSTAV HUDEBNÍ VĚDY TEORIE INTERAKTIVNÍCH MÉDIÍ Tereza Pešková Feministické porno Bakalářská diplomová práce Vedoucí práce: Mgr. Viktor Pantůček Odborný konzultant: Mgr. Libuše Konopová 2010 Brno Prohlašuji, že jsem diplomovou práci vypracovala samostatně s využitím uvedených pramenů a literatury. …………………………………………….. Tereza Pešková Na tomto místě bych ráda upřímně poděkovala své rodině a přátelům za podporu. Za cenné rady, podněty a poskytnutí materiálů ke zpracování jmenovitě děkuji především Mgr. Viktoru Pantůčkovi a Mgr. Libuši Konopové a dále Candidě Royalle, Mgr. A. Lence Klodové, Ph. D., Kateřině Liškové, Ph. D., Bc. Lence Vrbové, Hance Plochové a Bc. Zuzce Pavéskové. Speciální poděkování je pro Marka Hovorku a Radka Piska a to největší pro MČH Petru Piskovou, se kterou jedu zítra na cestu kolem světa! Obsah Obsah ............................................................................................................................4 Úvod .............................................................................................................................5 I. Feminismus a pornografie ..........................................................................................7 II. Tvůrkyně feministického porna ............................................................................... 10 II.1. Annie Sprinkle ................................................................................................. 10 II.2. Candida Royalle ............................................................................................... 12 II.3. Petra Joy .......................................................................................................... 15 II.3.1. Petra Joy Awards ....................................................................................... 18 II.4. Erika Lust ............................................................................................................ 19 II. 5. Ceny PorYes – 1. Feminist Porn Film Award Europe ........................................... 22 III. Praktické uplatnění ve filmu .................................................................................. 26 III.1. Srovnání filmů ................................................................................................ 27 IV. Reflexe ve výtvarném umění .................................................................................. 32 IV.1. Lenka Klodová ................................................................................................ 32 IV. 2. Veronika Bromová ......................................................................................... 35 IV. 3. Agnieszka Katarzyna Kozyra ......................................................................... 37 IV. 4. Anetta Mona Chisa a Lucia Tkáčová .............................................................. 38 Úvod Vybrat si feministickou pornografii jako téma své bakalářské práce nebylo jednoduché rozhodnutí. Pornografie je na okraji zájmu tak zvané slušné společnosti. Například v mediálním kontextu je zmiňována většinou jenom v souvislosti s pedofily nebo německými turisty. O feminismu v českém prostředí stále převládá názor vyjádřený slovy nikdo neví, co feminismus znamená, ale všichni ví, ţe je špatný. Spojení porna a feminismu musí tedy nutně tvořit třaskavou kombinaci. A také zdánlivě naprosto nevhodné téma pro akademickou půdu. Na druhou stranu spotřeba pornografických materiálů prozrazuje, ţe přestoţe se slušná společnost o pornu nebaví, někdo ho po nocích sledovat musí. Stejně tak feministické názory pomalu pronikají do našich kaţdodenních činností. Pornoprůmysl je zcela ovládaný muţi. Muţi stojí za kamerou, píšou scénáře, reţírují, produkují, distribuují. V posledních letech ale ţeny vystupují z řad hereček a řadí se mezi tvůrkyně. Jejich filmy nejsou zrcadlově obrácené „muţské“ produkci. Jsou po všech stránkách jiné. Rozdíl je tak markantní, ţe si toho všimla i švédská vláda a věnovala reţisérce Mii Engberg, zástupkyni nového proudu, grant na její budoucí pornografická díla. Domnívám se, ţe v oblasti porna je to první a jediný precedens. Tuto událost zaznamenala média a díky tomu i já. Feministický proud v oblasti porna na sebe strhává čím dál větší pozornost. Mimo jiné protoţe otevřeně přiznává, ţe ţeny v těchto filmech nejenom hrají, ale také ho sledují. Je to popření velmi zakořeněného stereotypu. Nová vlna s sebou přináší také jiný pohled na filmový ţánr, kde je klišé tak častým jevem, ţe se filmy zdají být parodií sama sebe. Všechny tyto faktory a mnoho dalších, které ve své práci dále rozvádím, mě přiměly k myšlence bliţšího a odbornějšího rozboru daného tématu. Mým cílem je danou problematiku blíţe popsat, přiblíţit hlavní zástupkyně nového proudu, vysvětlit jejich motivace, popsat jejich práci a srovnat ji s klasickým mainstreamovým pornem. Jako nejvhodnější cestu k tomuto cíli jsem si vybrala komparaci nejznámnějších zástupců z obou proudů. Budu se soustředit na jednotlivé kategorie, které si zvolím, a skrze ně budu porovnávat přístup ve ztvárnění mainstreamového a feministického porna. Práce je rozdělená do tří částí. V té první zpracovávám teorii, kde nejprve okrajově vysvětlím vztah feminismu a pornografie. Dále se jiţ věnuji samotnému 5 tématu feministického porna. Představím přední tvůrkyně, které jsem vybrala na základě četby odborné literatury a po konzultaci s Mgr. Konopovou. Zvolila jsem čtyři autorky, které se podílely na vzniku tohoto ţánru nebo výrazně přispěly k jeho popularizaci. Feministické porno má svoje vlastní „Oscary“ - PorYes – s podtitulem 1. Feminist Porn Film Award Europe. Zmiňuji jejich kritéria pro udílení cen především proto, ţe kategorie, které hodnotí, v podstatě samy o sobě definují feministické porno. Jako další následuje praktická část, kde srovnávám jeden úspěšný mainstreamový film se dvěma feministickými. Přičemţ Five Hot Stories For Her, jak uţ název napovídá, obsahuje pět krátkých filmů. Celkem tedy pracuji se šesti feministickými filmy. Posledním oddílem práce je reflexe ve výtvarném umění. Nejedná se o výčet umělkyň, které tvoří pod záštitou feminismu. Je to výběr autorek, jejichţ dílo je často spojováno s narušováním genderových stereotypů. Při tomto výběru nezohledňuji jejich postoj k feminismu. Některá jejich díla jsou starší datace a ony samy často přiznávají, ţe v době jejich vzniku neměly o feminismu ani ponětí. 6 I. Feminismus a pornografie V laické společnosti je často prezentován názor, ţe pro feministky je pornografie synonymem násilí na ţenách, diskriminace, zneuţití, dehumanizace apod. Je třeba si uvědomit, ţe odmítání pornografie není postojem celého feministického hnutí, ale pouze je dné z jeho částí. Názor feministek na pornografii tedy není jednotný. Jejich pohled se odvíjí od míry radikality feminismu, který zastávají. Můţeme zde mluvit o dvou hlavních proudech – liberální a radikální feminismus. Ve vztahu k pornografii se uţívají názvy sex-pozitivní a sex-negativní feminismus 1. Kateřina Lišková se v publikaci Hodné holky se dívají jinam Nesehnutí zmiňuje o termínech anti-pornografický a anti-anti-pornografický diskurz. 2 Hlavním cílem liberálního feminismu je zákonná úprava rovných podmínek a práv pro muţe a ţeny, coţ je myšlenka, která vychází z liberální politické teorie. Pornografii jako takovou neodmítají, tvrdí, ţe sexuální svoboda je jednou ze součástí svobody ţeny. V praxi to znamená, ţe je přípustné vše, co sama ţena dovolí – i v případě, ţe by se jednalo o BDSM. 3 Radikální feminismus obecně vychází z kritiky patriarchálního uspořádání naší společnosti a tvrdí, ţe ţeny jsou utlačovány muţi. Pornografie podle nich tento model společnosti ještě podporuje. Andrea Dworkin (1946-2005), radikální feministka, která byla známá především svou kritikou pornografie, říká, ţe akt pornografie a akt znásilnění jsou vlnami na stejném moři. 4 ,,Pornography is the theory, rape is the practise.“5 Radikální feminismus jako takový je v přístupu k pornografii těţko definovatelný, jelikoţ není jednotný. Proto jej ještě rozdělujeme 1 JOCH, Roman, Teze Nová levice, Nová pravice [online], c2010, [cit. 2010-5-14], <http://kie.vse.cz/wp-content/uploads/2009/11/5IE300-teze-nova-levice-pravice.pdf> 2 LIŠKOVÁ, Kateřina – FORMÁNKOVÁ, Lenka – RYTÍŘOVÁ, Kristýna, Hodné holky se dívají jinam. Nesehnutí: Brno, 2004. 3 "BDSM" je akronym pro "B&D" (Bondage & Discipline), "D&S" (Dominance & Submission), and "S&M" (sadomasochism). "BDSM" odkazuje na výše zmíněné praktiky a mnoho dalších okolo. 4 MERCK, Mandy , In your face: 9 Sexual Studies, University Press: New York , 2000, ISBN-13: 978- 0814756393 5 FERGUSON, Pleasure, Power and the Porn Wars. Old Citz Publishing, 1986 7 do dvou podskupin - na libertariánky a kulturní radikálky. Libertariánky pornografii jako takovou neodmítají. Pornografie podle nich poukazuje na různé druhy sexuality a sexuálních sluţeb, a přispívá tak k liberalizaci společnosti. Důrazně však odmítají, ţe obrazy násilí v pornografii odráţejí skutečné touhy ţen (například, ţe ţeny touţí po znásilnění).6 Kulturní radikálky zastávájí antipornografický přístup, identifikovaly pornografii jako příčinu muţského násilí na ţenách a nízkého statutu ţen ve společnosti. 7 Pornografii zcela odmítají a tvrdí, ţe je tou nejjasnější ukázkou propagandy proti ţenám. 8 Dvěma hlavními představitelkami antipornografického feminismu, které jsou hojně citované i v dnešní Evropě, jsou Andrea Dworkin a Catharine MacKinnon (1946). Toto odvětví feminismu propaguje lesbismus a zástupkyně tohoto proudu přišly dokonce s konceptem politické lesby
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