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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 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.

Much has been debated about the impact pornography has on the health of those who consume it. But how is it affecting the people starring in it? Performing in porn is a unique profession which requires a person to have sex with other–often unfamiliar–people in front of a camera for a living comes with various kinds of stigma, and is accompanied by several health risks for professionals and amateurs. This brief report aims to compile available evidence on the mental health of performers in porn.

This paper uses the PRISMA approach to systematically review existing research from health sciences and psychology to provide an overview of what is known about mental health in porn performers.

Only three US studies examine the topic and none of them are recent, which may be because of porn performers being a population which has been described as hard to reach for researchers. The existing knowledge on performers’ mental health is inconclusive at best, but points towards significantly poorer mental health and higher prevalence of mental disorders in some, but not others. New general research on the topic is needed to close this gap; more importantly, granular investigation into which populations are at risk of developing poor mental health and because of which circumstances are needed as a basis to support vulnerable performers.

The lack of insights into the mental health of performers may be related to prevailing stigma. This should be investigated. No sufficient evidence exists to inform policy which could improve performers’ mental health or prevent mental ill-health.

To the best of the author’s knowledge, this is the first systematic review compiling existing evidence on mental health of porn performers. An approach to address the lack of research is proposed.

Public relations (PR) research has given little space to the opinions, innovations and experiences of those working in marginalised or ‘dirty’ roles or occupations. To ensure that the worlds of these ‘others’ are represented this chapter explores the lives and work of women working in PR and communication roles in the ‘adult’ industry (worth an estimated $15 billion worldwide). Tibbals notes that ‘the voices and experiences of women working in the adult film industry are often overlooked’ (2013, p. 21) and dismissing a highly profitable but ‘dirty’ sector is to overlook and denigrate the people who work in it and the experiences and knowledge created therein. To explore my research questions I gathered informal interview data from women working in PR and combined this with published literature which recorded the lives of women who carried out PR and communications roles in the adult industry. My research demonstrates that high quality PR work is carried out within the adult industry and that the industry attracts women from diverse backgrounds, many of whom progress quickly within a meritorious environment. Nonetheless, these women often feel difficulty in explaining or justifying their work to family and friends and have strategies to avoid discussing their work to those outside the industry. They also have to work within a media environment where adult industry issues are not well or correctly reported.

The historical study of sexuality during the Victorian period has been influenced heavily by the development of sexology as a scientific field. The impetus of sexology to delineate and categorize “types” of sexuality and sexual behavior has situated the late nineteenth century as a starting point for studies of contemporary concepts of sexual “abnormality.” However, research into this subject, while drawing on both legal and medical discourses, has overwhelmingly ignored the value of porn in reconstructing the dynamics of Victorian sexuality. Accordingly, this chapter integrates legal, medical, and pornographic discourses of the late nineteenth century to develop a more thorough examination of Victorian sexual experiences that fell outside the limits of prescribed legal and medical “normalcy.”

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.

On June 21, 2021, a motion was introduced to the Australian Senate calling on the federal government to reject critical race theory (CRT) from the national curriculum, claiming that CRT is divisive and racist. This was allegedly sparked by revisions to the national school curriculum, which included a more accurate reflection of the historical record of First Nations peoples’ experiences of colonisation and the framing of British arrival onto the continent as an invasion. This paper aims to overview the omnipresence of Western thought systems in the academy and critiques how knowledge production as a disciplinary practice positions race as a “marginalised knowledge”.

This paper is conceptual and it theorises the morphology and functions of racism within the Australian education system specifically, and across the board. This theorisation offers an invaluable starting point in rethinking how we advocate for and preserve Blac/k scholarship in academia. It examines how the political economy of racism in education offers a transformative position from which scholars can contribute to potential systemic change that promotes racial literacy and racial dignity, and the conditions necessary to foster these changes.

The paper confirms what studies by Blac/k scholars already highlight: that racialised knowledges are marked – as an aesthetic addition or as disruptive – or unnecessary – and how these patterns of colonial desires are manifested in the classroom or in race discourse.

Specifically, the arguments made in this paper examine two undertheorised concepts, namely, “racial dignity” and “trauma porn” to foreground the reimagination of practices that inform racial literacy in education. This offers a helpful starting place to consider how this form of education facilitates ongoing settler colonialism in Australia. The authors then propose an anti-racist pedagogical practice in social work education entailing three core crucial and transformative elements: self- reflexivity, storytelling and collaboration with Blac/k people.

Technology-facilitated violence and abuse including image-based sexual abuse (IBSA) is a phenomenon affecting women and girls around the world. Abusers misuse technology to attack victims and threaten their safety, privacy, and dignity. This abuse is gendered and a form of domestic and sexual violence. In this article, the authors compare criminal law approaches to tackling IBSA in Scotland and Malawi. We critically analyze the legislative landscape in both countries, with a view to assessing the potential for victims to seek and obtain redress for IBSA. We assess the role criminal law has to play in each jurisdiction while acknowledging the limits of criminal law alone in terms of providing redress.

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.

Mainstream pornography is popular, freely accessible, and infused with themes of male dominance, aggression, and female subservience. Through depicting sex in these ways, mainstream pornography has the potential to influence the further development of harmful sexual scripts that condone or endorse violence against women and girls. These concerns warrant the adoption of a harms-based perspective in critical examinations of pornography's influence on sexual experiences. This chapter reports on findings from interviews with 24 heterosexual emerging adults living in Aotearoa/New Zealand about how pornography has impacted their lives. Despite a shared awareness among participants of mainstream pornography's misogynistic tendencies, and the potential for harm from those displays, men's and women's experiences were profoundly gendered. Men's reported experiences were often associated with concerns about their own sexual behaviors, performances, and/or abilities. Conversely, women's experiences were often shaped by how pornography had affected the way that men related to them sexually. Their experiences included instances of sexual coercion and assault which were not reported by the men. These findings signal the need for a gendered lens, situated within a broader harms-based perspective, in examinations of pornography's influence.