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Post-Exotic Pornography Or What´S Color Got to Do With

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Post-Exotic Pornography Or What´S Color Got to Do With Post-Exotic Pornography or What´s Color Got To Do With It? On the Problematics of Representation in Ethnic Pornography and a few Interventions by Queer_Feminists of Color. Whatever ones positon on porn is: One has to realize, that since the developments of the last years, queers and feminists can look at pornography at least a little bit different. Even though the power of mainstream pornography has been continuing and the multiple alternatives posed by genres like queer porn, feminist porn, alt porn and postporn obviously don´t have the influence to pose a real threat to the majoritarian structures of the industry, people with queer desires, bodies and fetishes have entered the frame now since quite some time. In the year 1990, Annie Sprinkle, under guidance of her lover Wink von Kempen, did stage the piece „Post Porn Modernist“. Instead of arousing the audience with a repetition of intensified affects, overstyled bodies and objectified women, „Post Porn Modernist“ was able to deconstruct the clichés of mainstream pornography including its various stereotypes and overcome the normative dimension of sexuality for a vision that included critique and irony, distanciation and transformation. Like other performance artists before her, Sprinkle used the personal narrative and forms of storytelling as a central ingredient for her piece. But what she provided was not only a herstory of her own life, which can be described as a rollercoaster-ride through all possible variations of sexwork, but also a genealogy of the porn genre itself. When Sprinkle became older she didn´t just end her career, like many colleagues before her. Instead, she used the genre as a place for an onging process finalizing itself in becoming a queer_feminist artist. In this journey, she not only represented a woman that was big bodied, but also a woman of a different age – an age that goes beyond the limit of the most porn careers. Furthermore she diversified her desire towards women and transgender men and constructed positive images of prostitutes beyond the marginalized narrative of the victim. While Sprinkle came into the porn-scene with a lot of naivité and the subjectivity of a young hippie that was basically interested in new experiences, she did proceed in gaining consciousness about the surpression of sexworkers and therewith became a spokesperson for sexual health and queer pornography. Instead of hating porn, one should do their own porn, was her message, even though one could add, that hating the mainstream porn might also precisely be the reason to produce other porn1. In her own words, she defined postporn as „a new genre of sexually explicit material that is perhaps more visually experimental, political, humorous, „arty“, and eclectic than the rest. Postmodern sex art could contain elements that were not necessarily focused on the erotic – humor, intellectual ideas, politics, feminism.“2 Without wanting to make Annie Sprinkle the one and only pioneer of alternative pornographies, I want to take up this useful definition which represents a subtile but concrete rupture within mainstream pornography. The point is not to make things look as queer, feminist or 1 Here we can see that critiques from the anti-porn-camp might not be so different than some mentioned in the pro-porn-communities. Just the consequences are different. While the first want to abolish porn, the second want to change porn from the inside. 2 Sprinkle (1998), p. 160. other political movies about sexuality never existed. They clearly did3. But the „post“ in the title produced a concrete gesture of distanciation towards a genre that hardly can be called emancipatory in itself. Even if looking at porn might be exciting to study for academics or inspiring for all kind of peoples when it comes to getting new sexual moves, the genre still breathes patriarchy and heteronormative power. Not only on the screen – a space that might be regarded as, like many pro-sex-feminist scholars argued, fantasy or fiction – but also in the structures of the industry, which still is predominately ruled by straight men and also sold to straight men. So instead of looking at porn from one fundamental perspective, the politics of pornography exist on various levels. Next to the structural working conditions and the politics of representation, another problem is that nobody really knows when or what kind of coercion is happening on the set itself. On the margin of the industry as well as in various queer_feminist undergrounds and the art world, there is a huge quantity of performers, labels and groups that, who sometimes use explicitly the term of postporn, and sometimes do not, could be, from my point of view, all more or less all categorised under this term4. Different than labels as queer porn or art porn, postporn is able to move beyond the description of being a part of just one field (like the one of high culture) or just one group or identity. Just to mention a few actors in this multi-faceted and exciting field are Catherine Opie, Del La Grace Volcano, Diana Pornoterrorista, Maria Beatty, GirlsWhoLikePorno, Go Fist!, Bruce La Bruce, Monika Treut, Hans Scheirl, Virginie Despentes and many others stemming mostly from queer_feminist undergrounds. Others, like Valie Export, Hanna Wilke, Martha Rosler, Judy Chicago or Elizabeth Stephens worked on similar ideas from the point of view of video and performance art. Furthermore a new generation of filmmakers like Courtney Trouble from the USA or Gala Vanting from Australia have even introduced independant, queer porn companys into the porn world. Looking also at the theoretical dimension of porn studies, including scholars like Linda Williams and Beatriz Preciado, festivals like „C´lick Me – The Art and Politics of Netporn“ or the „Porn Film Festival Berlin“, there are now vibrant structures of political, yet playful debates and non-normative, but exciting image-production and enjoyment changing not only the common experience of pornography that usually is trapped in the dualism between unreflected arousal and pessimist anger5, but also producing an own, reflexive and affirmative 3 There are obviously too many examples to mention. A good example combining various elements of what could be considered a leftist, postpornographic work combining documentary and fiction, reflections of the sexual revolution, critique on the commodification of sexuality and the biography of utopian Wilhelm Reich is „WR: Mysteries of the Organism“ by Dusan Makavejev (1971). 4 It has to be mentioned that some performers and groups even consciously distance themselves from the term, as it would be a kind of snobbish concept, disidentifying from the mainstream and therewith from the community of sexworkers working in more precarious conditions altogether. However, I find Sprinkle´s position important, as she embodies precisely a subject that went through all the mainstream dispositives of sexwork and then invented herself not in a total opposition, but in a nevertheless parodistic and critical way towards her background. 5 As major feminist intervention into the debate see: Williams, as major queer intervention Preciado. Useful collections of writings on porn are: Taormino, Penley, Shimizu, Miller-Young (2013), or Stüttgen (2010). audience and with it places for debate and reflection. Through anti-hegemonic readings and strategical counter-desires, the use of prosthetics and dildos and also the recognition of the beauty of bodies beyond the norm, the deconstruction of one of the most ideological genres that was also inspired by the performative turn and queer theory has been partly successful in challenging the genre and therewith heteronormativity, patriarchy and the two-gender-system. Different from sexuality and gender, the notion of race, ethnicity and bodies marked as colored have been much harder to thematizise, deconstruct and subvert. Especcially Mireille-Miller Young has criticised euphoric porn theorists which only concentrate on gender sexuality and gestured towards a whole herstory of porn critique from a women of color-perspective6. Also queer theorist Maxime Cervulle has thematized this situation: It is striking to see today how much issues of race and class have been absent in debates around post-porn, the future of pornography, ethical porn and DIY representation. It is, however, a crucial issue that could reveal how white and middle- class the porn gaze often is.7 Also it was to be taken into account that there are only a small number of queer_feminist directors that are colored themselves. One could say that there are as many colored filmmakers in the queer or the postporn world as there are female directors in the mainstream porn world. Both are a minority that is limited to less than ten percent. When we try to understand the problem of representing colored bodies, we have to go back to a time before the beginning of a real porn industry. We have to recognize how racism, since the age of colonialism and slavery, are relational products of a world where whites rule over the image of blacks. „Oh my body, make me always a man who questions!“ writes the anticolonialist theorist Frantz Fanon8 in regards to the experience of racism. In his influential study „Black Skins White Masks“9, Fanon has dedicated a whole chapter on what we could call an ontology of racism from a black mans perspective living in a white world. „The Lived Experience of the Black Man“10 looks at how racism is directly experienced at the psychological level. Drawing infuence from thinkers as Sartre and Hegel, Fanon didn´t oversee that Hegel´s ontology opened up the potential to think universal freedom, while ignoring the realities of slavery and therewith, the black experience. Therefore, Fanon made this unmentioned relationality between white master and black slave the centre for his ontology of „the black man“: Ontolgy does not allow us to understand the being of the black man, since it ignores the lived experience.
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