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MIMESIS INTERNATIONAL
CINEMA / Mapping Pornographies: Histories, Geographies, Cultures

www.mimesisinternational.com

N. 1

Book series edited by Enrico Biasin, Giovanna Maina, Federico Zecca

Scientific committee
Feona Attwood (Middlesex University)
Mariana Baltar (Universidade Federal Fluminense)
Patrick Baudry (Université de Bordeaux)
Oliver Carter (Birmingham City University)
Giacomo Manzoli (Università di Bologna)
Wencke Fugelli Mühleisen (Universitetet i Stavanger)
Katrien Jacobs (The Chinese University of Hong Kong)
Peter Lehman (Arizona State University)
Gloria Lauri-Lucente (University of Malta)
Alan McKee (Queensland University of Technology)
John Mercer (Birmingham City University)
Mireille Miller-Young (University of California Santa Barbara)
Peppino Ortoleva (Università degli Studi di Torino)
Susanna Paasonen (Turun yliopisto - University of Turku)
Mario Perniola (Università di Roma “Tor Vergata”)
Marc Siegel (Goethe-Universität Frankfurt am Main)
Clarissa Smith (University of Sunderland)
Magnus Ullén (Karlstads Universitet)
Thomas Waugh (Concordia University)
 PORN AFTER PORN
Contemporary Alternative Pornographies

Edited by
Enrico Biasin, Giovanna Maina, Federico Zecca

MIMESIS
INTERNATIONAL
This book is published on the occasion of the FILMFORUM 2014 / XII MAGIS - GORIZIA
INTERNATIONAL FILM STUDIES SPRING SCHOOL with the support of:

Associazione Culturale LENT

Associazione Culturale Maiè

Cover Photo:
Courtney Trouble, photographed by Elisa Shea for Indie Porn Revolution
elisashea.com
indiepornrevolution.com

© 2014 – Mimesis International

www.mimesisinternational.com
e-mail: [email protected]
Book series: CINEMA / Mapping Pornographies: Histories, Geographies, Cultures, n. 1
isbn 9788857523590
 5

The Book Series

Mapping Pornographies: Histories, Geographies, Cultures

The project of this Book Series is grounded on the acknowl-

edgement that a thorough analysis of the historical and geograph-
ical distinctive features of pornography is fundamental in order
to achieve a deeper and more complex understanding of pornog-
raphy itself as a cultural form. On one hand, in fact, the project
aims to reconstruct the historical variables that define the cultural
existence of pornographic films and videos, thereby establishing
the conditions that actually make their existence possible. On the
other, the project intends to trace the geographical constants that
distinguish the different pornographic forms in terms of national,
regional, and cultural identity. The main objective of this book
series, therefore, is to map the several morphological expressions
(and transformations) that hard-core materials have undergone
during their historical evolution and geographical differentiation.

This book series has been conceived within the context of the
Porn Studies Section of the MAGIS – International Film Studies
Spring School of Gorizia. The MAGIS, founded in 2003, is an inter-
national doctoral school promoted by a cluster of European Uni-
versities under the coordination of the University of Udine (Italy),
and provides interdisciplinary seminars and workshops on topics
such as cinema and visual arts, film heritage, and post-cinema. In
2010, the School has inaugurated a Porn Studies Section, which is
now one of the most important European academic conferences
entirely devoted to the study of pornography: a very important
space of discussion for European as well as Extra-European schol-
ars, and a moment of interaction between scholars and PhD and
MA students.

(e.b, g.m., f.z.)

 TABLE OF CONTENTS

Foreword
Feona Attwood 11

Introduction
Enrico Biasin, Giovanna Maina, Federico Zecca 15

Things to Do with the Alternative

Fragmentation and Distinction in Online Porn
Susanna Paasonen 21

Porn to Be Wild
Identity and the Aesthetics of “Otherness” in Subcultural Erotica
Bill Osgerby 37

“Its Important That You Don’t Smell a Suit on This Stuff”

Aesthetics and Politics in Alt Porn
Clarissa Smith 57

Grotesque Empowerment
Belladonna’s Strapped Dykes Between Mainstream and Queer
Giovanna Maina 83

#queer #fisting #porn

Queer Porn as Postcapitalist Virus
Micha Cárdenas 107

Mighty Real
Shine Louise Houston 117
Netporn
The Promise of Radical Obscenities
Katrien Jacobs 121

“Sex, politics & protest”

Sergio Messina 141

A View from the Ivory Tower

Barbara DeGenevieve 147

Hiding Is Showing
WARBEAR a.k.a Francesco Macarone Palmieri 157

Post Porn
Or, Alice’s Adventures in Sexland
Rachele Borghi 165

What is Feminist Pornography to Pornography?

Rethinking Porn Representation in Five Hot Stories
for Her, X Femmes, and Dirty Diaries
Muriel Andrin 189

“Trying to invent a new porn”

A Conversation with Mia Engberg
Muriel Andrin 209

To Be, or Not To Be a Feminist Pornographer

That Is the Fucking Question
Erika Lust 217

Affirmation and Critique

Political and Aesthetic Legacies of Queer, Feminist and
Lesbian Pornography
Ingrid Ryberg 223

Domesticated Porn
Gendered Embodiment in Audience Reception Practices
of Pornography
Florian Voros 241
Pornographic and Post-Pornographic Utopia
Peter Rehberg 257

Stumped
The Pornography of Disability
Tim Dean 275

Porning Intimacy
Homemade Pornography on SellYourSexTape!
Kristina Pia Hofer 305

Porn Sweet Home

A Survey of Amateur Pornography
Federico Zecca 321

Contributors 339
 11

Feona Attwood

FOREWORD

The production and consumption of diverse pornographies is far

from a new phenomenon, though the idea of “porn” as a singular
“thing” and as a social problem has dominated almost all public
discourse on the topic to date. The academic study of these por-
nographies has been spurred on by the increasing public visibility
of different types of pornography and the gradual emergence of a
broader field of porn studies. Discussions of the porn that comes
after “porn” as it has been presented in this kind of discourse have
so far tended to focus around pornographies that are experienced
as particularly “real” because of their aesthetics or origins, as well as
those that are motivated by political, artistic and ethical concerns.
These discussions have been notable in attracting artists, activ-
ists and academics at events such as the netporn conferences in
Amsterdam in 2005 and 2007, the porn film festival and post porn
symposium in Berlin in 2006, the Arse Electronica conferences
that have examined sex and technologies each year since 2007, and
the US Sex 2.0 conferences in 2008 and 2009 that focused on the
theme of social media, feminism and sexuality.
The first Amsterdam netporn conference considered “the ��������
po-
tential of art and critical research in times of heightened informa-
tion surveillance, filtering and censorship,”1 while the Berlin
�����������
sym-
posium emphasized the need “to take porn seriously […] to show
new ways and strategies to produce ‘better’ porn beyond the main-
stream as well as to critically analyze the present and the history of
the genre.”2 The associated anthologies edited by Katrien Jacobs,

1 http://networkcultures.org/wpmu/portal/archive/netporn/. Accessed Ja-

nuary 30, 2014.
2 http://www.catch-fire.com/2010/02/out-now-post-porn-politics/. Acces-
sed January 30, 2014.
12 Porn after Porn

Marije Janssen and Matteo Pasquinelli (2007) and Tim Stuttgen

(2009), who sadly died in 2013, provided an important focus for
discussion beyond the conferences.
“Post porn” has been an important term throughout these dis-
cussions, used to describe work that is explicit, politicized and
challenging. The term is associated with the work of the “post
porn modernist,” Annie Sprinkle, which roams across the catego-
ries of art, pornography, sex work, education, politics and spiritu-
ality. Post porn work disrupts the boundaries between media and
performance genres and challenges the ways that particular types
of work are categorized and valued. Given that pornography has
often been popularly associated with oppressive ideas of gender
and sexuality, it is also notable for a commitment to queer and
feminist politics. Another focus of interest has been “netporn” and
the ways that “online technologies re-structure the pornographic”
(Paasonen 2010, 1298)��������������������������������������������
. A third has been on DIY, an ethos that ex-
tends across new and alternative sexual cultures, subcultural sexu-
alities, kink communities, and the amateur pornographies that are
part of a broader contemporary and participatory culture.
What practice and study in these three areas has done is to com-
plicate ideas of a singular “porn industry” and of sexual labour
more generally. It has enabled the discussion of what sustainable,
fair trade, green, and ethical pornographies might look like, and
allowed for the examination of the ways in which pornographies
may be sources of community, culture, consumption and citizen-
ship all at once. It has shown that boundaries between identity,
practice, community, intimacy, fantasy and representation cannot
be firmly drawn any more, if indeed they ever could.
One of the misapprehensions about studies of “porn after porn”
is that they misinterpret what they find as evidence that there are
two basic and opposing types of porn, hence the accusation that
is sometimes made that studying new pornographies is a way of
avoiding the analysis of “real” or “typical” porn, conceptualized as
“mainstream,” “cookie-cutter,” “heteroporn,” and characterized by
“pornonormativity.” But what the study of alternative pornogra-
phies increasingly suggests is that while mainstream and alterna-
tive, porn and post porn are incredibly useful as categories for the
purposes of comparison and investigation, as well as for staking
claims to identity and community, those categories are ultimately
F. Attwood - Foreword 13

artificial. Rather than dismiss the study of new and alternative por-
nographies, we need to recognize their importance for the study of
pornographies of all kinds and the cultures that produce them.
This collection, featuring many of those who have had the most
to offer to the study of “porn after porn” is a very welcome publica-
tion that contributes to the further opening up of porn studies.
Continuing in the spirit of earlier collaborative work between art-
ists, activists and academics it advances an approach that shows
how commercial and non-commercial, mainstream and alterna-
tive, professional and amateur are increasingly entangled, as well
as the diversity and distinctiveness of contemporary pornogra-
phies.

References

Jacobs, Katrien, Marije Janssen and Matteo Pasquinelli, eds. 2007. C’Lick
Me: A Netporn Studies Reader. Amsterdam: Institute of Network Cul-
tures.
Paasonen, Susanna. 2010. “Labors of Love: Netporn, Web 2.0, and the
Meanings of Amateurism.” New Media and Society 12 (8): 1297-1312.
Stüttgen, Tim, ed. 2009. Post / Porn / Politics: Queer_Feminist Perspec-
tives on the Politics of Porn Performance and Sex_Work as Culture Pro-
duction. Berlin: b_books.
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