Search results1 – 10 of 436
This chapter considers the influence of horror on the production of commercial gay pornography. I see this influence reflected especially in the production and popularity of gay pornographic films inspired by horror franchises from the slasher and ‘torture porn’ cycles that have been remade in recent decades. Nine texts are selected for analysis – from the slasher genre: Bryan Kenny’s 2010 A Nightmare on Twink Street (inspired by the A Nightmare on Elm Street series), Andy Kay’s 2012 Black XXXmas (inspired by Black Christmas), Frank Fuder and Angel Skye’s 2009 Halloweiner: Friday the Fuckteenth and Chi Chi LaRue’s 2016 Scared Stiff (both inspired by the Friday the 13th series), Bromo’s 2017 Cream for Me (Scream series); and from the torture porn genre: Jett Blakk’s 2006 Bonesaw, John Bruno’s 2006 Rammer and Bryan Kenny’s 2010 Raw I and 2011 (with Andy Kay) Raw II (inspired by the Saw franchise). The specificity of the horror genre is addressed, as is the importance of gender. But particular focus is directed toward the structural aspects of gay porn parodies and the degree to which horror parodies in particular have the potential to blend pornographic homosex with graphic violence, perhaps most extreme in the slasher and torture porn horror variants. Other potentialities are also explored, such as for the easing of narrative/sex porn tensions.
Sex tourism is well documented in the literature, but what about porn tourism? Whether it is a Ping Pong show in Phuket or the Banana show in Amsterdam, porn and tourism…
Sex tourism is well documented in the literature, but what about porn tourism? Whether it is a Ping Pong show in Phuket or the Banana show in Amsterdam, porn and tourism have an encounter and gaze no different from the Mona Lisa in the Louvre or magnificent views of New Zealand’s Southern Alps. The paper aims to discuss these issues.
This paper explores the intersections of tourism, porn and the future as a conceptual framework.
Four intersections are derived from the conceptual framework. Intersection 1, the Future of Tourism, portrays the evolution of tourism and explores its technological future. Interaction 2, Porn in Tourism, distinguishes between soft- and hard-core porn tourism. Intersection 3, Portraying Porn as a Future Dimension, delves into futurism, science fiction and fantasy. The fourth intersection, the Future Gaze, conveys the thrust of the paper by exploring how technological advancement blends with authenticity and reality. Thus the porn tourist seeks both the visual and the visceral pleasures of desire. The paper concludes with four future gazes of porn tourism, The Allure of Porn, The Porn Bubble, Porn as Liminal Experience and Hardcore.
The originality of this paper is that this is the first paper to systematically examine porn tourism beyond sex tourism overlaying with a futures dimension. Porn tourists actively seek to experience both visual and visceral pleasures. Tourism and pornography both begin with the gaze. The gaze is an integral component of futures thinking. Technology is changing us, making us smarter, driving our thirst for liminal experiences. Like the transition from silent movies to talking pictures the porn tourism experience of the future is likely to involve more of the bodily senses.
Roland Joffé, the film-maker behind the significant critical hits The Killing Fields (1984) and The Mission (1986), employed a hypnotic aesthetic, which unflinchingly…
Roland Joffé, the film-maker behind the significant critical hits The Killing Fields (1984) and The Mission (1986), employed a hypnotic aesthetic, which unflinchingly depicted violence and brutality within different cultural contexts. In 2007, he used a no less impressive aesthetic in a similar way, although this film, Captivity, was met with public outcry, including from self-proclaimed feminist film-maker Joss Whedon. This was based upon the depiction, in advertisements, of gendered violence in the popularly termed ‘torture porn’ subgenre, which itself has negative gendered connotations.
We aim to revisit the critical reception of Captivity in light of this public controversy, looking at the gendered tensions within considerations of genre, narration and aesthetics. Critics assumed Captivity was an attempt to capitalize on the popularity of the torture horror subgenre, and there is evidence that the film-makers inserted scenes of gore throughout the narrative to encourage this affiliation. However, this chapter will consider how the film works as both an example of post-peak torture horror and an interesting precursor to more overtly feminist horror, such as A Girl Walks Home Alone at Night (2014) and Raw (2017). This is seen through the aesthetic and narrative centralizing of a knowing conflict between genders, which, while not entirely successful, does uniquely aim to provide commentary on the gender roles which genre criticism of horror has long considered implicit to the genre’s structures and pleasures.
Child sponsorship programs have been accused of representing children in the developing world in a manner described as “development porn”. The purpose of this paper is to…
Child sponsorship programs have been accused of representing children in the developing world in a manner described as “development porn”. The purpose of this paper is to take an historical approach to investigating the use of advertising techniques by Plan Canada, a subsidiary of one of the oldest and largest child sponsorship‐based non‐governmental development agencies, Plan International, during the 1970s. This time period represents an important era in international development and a time of significant change in the charitable giving and advertising industries in Canada.
The authors conduct a content analysis on an archival collection of 468 print advertisements from the 1970s.
A description of the “typical” Plan Canada fund‐raising ad is presented and shown to be different, in several aspects, from other advertisements of the time period. It was determined that Plan Canada's advertisement did not cross the delicate line between showing the hardship and realities of life in the developing world for these children and what became known as “development porn”.
There has been little previous research which focuses specifically on the design of charity advertisements. This paper presents a historically contextualized description of such ads, providing a baseline for further research. It also raises important questions regarding the portrayal of the “other” in marketing communications and the extent to which aid agencies must go to attract the attention of potential donors.
Purpose – Child sponsorship programs have been accused of representing children from the developing world in a manner described as “development porn” in their marketing…
Purpose – Child sponsorship programs have been accused of representing children from the developing world in a manner described as “development porn” in their marketing communications, and of operating in such a way as to reinforce beliefs that people in the global South are powerless, dependent on help from the developed North. This research takes a critical, historical approach to investigating the marketing practices of Plan Canada, a subsidiary of one of the oldest and largest child sponsorship-based development agencies, in order to evaluate outcomes of charitable giving at the social and ideological level.
Methodology – We adopted a consumer storytelling theoretical lens to conduct narrative analysis of letters written by donors upon their return from visiting their sponsor children.
Findings – We reveal how even if aid recipients are treated with respect in marketing communications, ideological outcomes which reinforce Northern hegemony may still result.
Social implications – Although charitable acts by individuals are commonly encouraged and lauded, marketers may play a role in perpetuating negative outcomes that result from this consumer action, such as reinforcing notions of cultural difference and superiority.
Originality/value of paper – Only a few researchers have investigated the social and ideological outcomes of charitable giving. We investigate the outcome of charitable giving on the donor and recipient communities and relationship between these communities. Models of charitable giving need to be revised to include these outcomes.