Read Online The Feminist Porn Book: The Politics of Producing Pleasure by Tristan Taormino, Constance Penley, Celine Parrenas Shimizu, Mireille Miller-Young - Free Book Online
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the good fight on behalf of (white) women and so few are fighting for black women like me. For example, there are countless examples of white women’s sexualities portrayed in porn, but very limited images of African American women. And when you do see black women in porn, they are often stereotyped or demeaned.
When I first started in the industry, I quickly saw that the images of women of color in porn were directly related to what the predominantly white male directors thought was sexy and what they believed their (predominantly white) male audience would find sexy. As a result, the majority of African American women on screen were put into one of two categories: assimilated to appear as close to white as possible (“they are almost one of us”) or completely ghettoized to reflect debased images of black culture (it doesn’t matter because “they are only one of them”). The first group was easy to spot: long hair weaves, lighter skin, thinner physical frames, enhanced busts, and smaller hips and butts. These women could also be cast in larger budget movies. Women with bigger butts, curvier bodies, darker complexions, and more African features were relegated to movies with lower production values and often-offensive titles. It wasn’t until female and black directors and producers began to influence the marketplace that porn videos started to showcase other aspects of black life and black and/or interracial couples in a more diverse light.
In the 1990s, I had a conversation with the owner (a white guy) of a video company that produced mainly videos featuring black actors, but the women were always skinny, light-skinned girls. He told me his product was produced for the people who bought his movies: white men. He said black men are renters, not buyers. One of the biggest mistakes mainstream pornographers makes is thinking their market is not interested in any other images of black women except these outrageously stereotyped ones. The industry also does not understand why black consumers might want to rent porn rather than buy. The lack of market research allows directors and producers to remain uninformed, and to cater only to their own sexual likes and dislikes. One would think, especially in today’s oversaturated marketplace, that pornographers would seek to produce for both the current buying population and those who have yet to be convinced to spend their money.
Female directors have an advantage in producing adult movies because of their unique perspectives. Understanding the female body—the importance of the little things, from hair and makeup, to location and shooting from flattering angles—creates a better product. It’s easy to look at directors like Joanna Angel, Belladonna, Julie Simone, and Chanta Rose and witness how they manage to produce beautifulimages of women but still get these women to push their limits in intense scenes. Perhaps some women feel more comfortable with a woman behind the camera asking them to do things that might be deemed degrading if asked by a male director. Some women might feel more at ease with their egos massaged by showing up on the set to find accommodations for wardrobe, makeup, and hair, and food available. These considerations, which often fall to the performers to provide in order to save on the budget, make a world of difference in getting a performer to give her all.
As a performer and director, I want to show varied sexual dynamics between African American couples, especially more images of black men and women practicing BDSM. The majority of black-on-black porn is generally limited to boy/girl or girl/girl sex scenes, gangbangs, or orgies. Rarely do you see more intense hardcore, blowbangs, rough sex, and/or fetish content featuring all black actors. These types of scenes are more likely to be interracial and feature a submissive white woman paired with a dominant/aggressive black man taking charge and/or advantage of her—or a submissive yet hypersexual
When I first started in the industry, I quickly saw that the images of women of color in porn were directly related to what the predominantly white male directors thought was sexy and what they believed their (predominantly white) male audience would find sexy. As a result, the majority of African American women on screen were put into one of two categories: assimilated to appear as close to white as possible (“they are almost one of us”) or completely ghettoized to reflect debased images of black culture (it doesn’t matter because “they are only one of them”). The first group was easy to spot: long hair weaves, lighter skin, thinner physical frames, enhanced busts, and smaller hips and butts. These women could also be cast in larger budget movies. Women with bigger butts, curvier bodies, darker complexions, and more African features were relegated to movies with lower production values and often-offensive titles. It wasn’t until female and black directors and producers began to influence the marketplace that porn videos started to showcase other aspects of black life and black and/or interracial couples in a more diverse light.
In the 1990s, I had a conversation with the owner (a white guy) of a video company that produced mainly videos featuring black actors, but the women were always skinny, light-skinned girls. He told me his product was produced for the people who bought his movies: white men. He said black men are renters, not buyers. One of the biggest mistakes mainstream pornographers makes is thinking their market is not interested in any other images of black women except these outrageously stereotyped ones. The industry also does not understand why black consumers might want to rent porn rather than buy. The lack of market research allows directors and producers to remain uninformed, and to cater only to their own sexual likes and dislikes. One would think, especially in today’s oversaturated marketplace, that pornographers would seek to produce for both the current buying population and those who have yet to be convinced to spend their money.
Female directors have an advantage in producing adult movies because of their unique perspectives. Understanding the female body—the importance of the little things, from hair and makeup, to location and shooting from flattering angles—creates a better product. It’s easy to look at directors like Joanna Angel, Belladonna, Julie Simone, and Chanta Rose and witness how they manage to produce beautifulimages of women but still get these women to push their limits in intense scenes. Perhaps some women feel more comfortable with a woman behind the camera asking them to do things that might be deemed degrading if asked by a male director. Some women might feel more at ease with their egos massaged by showing up on the set to find accommodations for wardrobe, makeup, and hair, and food available. These considerations, which often fall to the performers to provide in order to save on the budget, make a world of difference in getting a performer to give her all.
As a performer and director, I want to show varied sexual dynamics between African American couples, especially more images of black men and women practicing BDSM. The majority of black-on-black porn is generally limited to boy/girl or girl/girl sex scenes, gangbangs, or orgies. Rarely do you see more intense hardcore, blowbangs, rough sex, and/or fetish content featuring all black actors. These types of scenes are more likely to be interracial and feature a submissive white woman paired with a dominant/aggressive black man taking charge and/or advantage of her—or a submissive yet hypersexual
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