Porn after Porn: Contemporary Alternative Pornographies

MIMESIS INTERNATIONAL CINEMA / Mapping Pornographies: Histories, Geographies, Cultures www.mimesisinternational.com N. 1 Book series edited by Enrico Biasin, Giovanna Maina, Federico Zecca 5AGCLRGDGA"AMKKGRRCC 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: info@mimesisinternational.com Book series: CINEMA / Mapping Pornographies: Histories, Geographies, Cultures, n. 1 isbn 9788857523590 © MIM Edizioni Srl P.I. C.F. 0241937030 5 6FC"BMMI"SCPGCQ" /?NNGLE"2MPLMEP?NFGCQ "*GQRMPGCQ ")CMEP?NFGCQ "%SJRSPCQ The project of this Book Series is grounded on the acknowledgement that a thorough analysis of the historical and geographical distinctive features of pornography is fundamental in order to achieve a deeper and more complex understanding of pornography itself as a cultural form. On one hand, in fact, the project aims to reconstruct the historical variables"ß̶̇ß"¸̋ º̋"ß̶̋"cultural existence"æ̨"ıæøºæ̌ø̇ı̶Æ˚" ØŒœ"̇º¸"©Æ¸̋æœ "ß̶̋ø̋̈ "̋œß̇̈ØÆœ̶ƺ̌" the conditions that actually make their existence possible. On the other, the project intends to trace the geographical constants that ¸Æœßƺ̌­Æœ̶"ß̶̋"¸Æ ̋ø̋ºß"ıæøºæ̌ø̇ı̶Æ˚"̨æøŒœ"ƺ"ß̋øŒœ"æ̨"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 ¸­øƺ̌"ß̶̋Æø"̶ÆœßæøÆ˚̇Ø"̋©æØ­ßÆæº"̇º¸"̌̋æ̌ø̇ı̶Æ˚̇Ø"¸Æ ̋ø̋ºßÆ̇ßÆæº 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 international doctoral school promoted by a cluster of European Universities under the coordination of the University of Udine (Italy), and provides interdisciplinary seminars and workshops on topics œ­˚̶"̇œ"˚ƺ̋Œ̇"̇º¸"©Æœ­̇Ø"̇øßœ " ØŒ"̶̋øÆß̇̌̋ "̇º¸"ıæœß ˚ƺ̋Œ̇ "+º" 2010, the School has inaugurated a Porn Studies Section, which is now one of the most relevant European academic conferences entirely devoted to the study of pornography: a very important space of discussion for European as well as Extra-European scholars, and a moment of interaction between scholars and PhD and MA students. (e.b, g.m., f.z.) TABLE OF CONTENTS (MPCUMPB Feona Attwood 11 +LRPMBSARGML Enrico Biasin, Giovanna Maina, Federico Zecca 15 6FGLEQ"RM"&M"UGRF"RFC"#JRCPL?RGTC" Fragmentation and Distinction in Online Porn Susanna Paasonen 21 2MPL"RM"BC"9GJB Identity and the Aesthetics of “Otherness” in Subcultural Erotica Bill Osgerby 37 +RQ"+KNMPR?LR"6F?R";MS"&ML R"5KCJJ"?"5SGR"ML"6FGQ"5RSDD " Aesthetics and Politics in Alt Porn Clarissa Smith 57 )PMRCQOSC"'KNMUCPKCLR Belladonna’s Strapped Dykes Between Mainstream and Queer Giovanna Maina 83 げOSCCP"げDGQRGLE"げNMPL Queer Porn as Postcapitalist Virus Micha Cárdenas 107 /GEFRW"4C?J Shine Louise Houston 117 0CRNMPL The Promise of Radical Obscenities Katrien Jacobs 121 5CV "PMJGRGAQ" "PPMRCQR Sergio Messina 141 #"8GCU"DPMK"RFC"+TMPW"6MUCP Barbara DeGenevieve 147 *GBGLE"IQ"5FMUGLE WARBEAR a.k.a Francesco Macarone Palmieri 157 2MQR"2MPL 1ø "#ØÆ˚̋ œ"#¸©̋ºß­ø̋œ"ƺ"5̋®Ø̇º¸ Rachele Borghi 165 9F?R"GQ"(CKGLGQR"2MPLMEP?NFW"RM"2MPLMEP?NFW Rethinking Porn Representation in Five Hot Stories for Her, X Femmes, and Dirty Diaries Muriel Andrin 189 6PWGLE"RM"GLTCLR"?"LCU"NMPL " A Conversation with Mia Engberg Muriel Andrin 209 6M"$C "MP"0MR"6M"$C"?"(CKGLGQR"2MPLMEP?NFCP That Is the Fucking Question Erika Lust 217 #DDGPK?RGML"?LB"%PGRGOSC Political and Aesthetic Legacies of Queer, Feminist and Lesbian Pornography Ingrid Ryberg 223 &MKCQRGA?RCB"2MPL Gendered Embodiment in Audience Reception Practices of Pornography Florian Voros 241 2MPLMEP?NFGA"?LB"2MQR 2MPLMEP?NFGA"7RMNG? Peter Rehberg 257 5RSKNCB The Pornography of Disability Tim Dean 275 2MPLGLE"+LRGK?AW Homemade Pornography on SellYourSexTape! Kristina Pia Hofer 305 2MPL"SUCCR"HMKC" A Survey of Amateur Pornography Federico Zecca 321 %MLRPG@SRMPQ" ざざぜ 11 (CML?"#RRUMMB" 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 pornographies has been spurred on by the increasing public visibility æ̨"¸Æ ̋ø̋ºß"ß ı̋œ"æ̨"ıæøºæ̌ø̇ı̶ "̇º¸"ß̶̋"̌ø̇¸­̇Ø"̋Œ̋ø̌̋º˚̋"æ̨"̇" ̈øæ̇¸̋ø" ̋ظ"æ̨"ıæøº"œß­¸Æ̋œ "&Æœ˚­œœÆ溜"æ̨"ß̶̋"ıæøº"ß̶̇ß"˚æŒ̋œ" 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, activists and academics at events such as the netporn conferences in #Œœß̋ø¸̇Œ"ƺ"さここじ"̇º¸"さここず "ß̶̋"ıæøº" ØŒ"̨̋œßÆ©̇Ø"̇º¸"ıæœß"ıæøº" 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. 6̶̋" øœß" #Œœß̋ø¸̇Œ" º̋ßıæøº" ˚æº̨̋ø̋º˚̋" ˚溜Ƹ̋ø̋¸" “the ß̶̋" ıæ potential of art and critical research in times of heightened informaßÆæº"œ­ø©̋ÆØØ̇º˚̋ " Øß̋øƺ̌"̇º¸"˚̋ºœæøœ̶Æı 1 while the Berlin symposium emphasized the need “to take porn seriously […] to show º̋¬"¬̇ œ"̇º¸"œßø̇ß̋̌Æ̋œ"ßæ"ıø渭˚̋" ̈̋ßß̋ø "ıæøº"̈̋ 溸"ß̶̋"Œ̇ƺstream as well as to critically analyze the present and the history of the genre.”2 The associated anthologies edited by Katrien Jacobs, 1 さ" http://networkcultures.org/wpmu/portal/archive/netporn/. Accessed January 30, 2014. ̶ßßı ¬¬¬ ˚̇ß˚̶ ø̋ ˚æŒ さこごこ こさ æ­ß ºæ¬ ıæœß ıæøº ıæØÆßÆ˚œ " #˚˚̋œsed 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 discussions, 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 categories of art, pornography, sex work, education, politics and spirituality. 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 extends across new and alternative sexual cultures, subcultural sexualities, 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 complicate 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 citizenship all at once. It has shown that boundaries between identity, practice, community, intimacy, fantasy and representation cannot ̈̋" øŒØ "¸ø̇¬º"̇º "Œæø̋ "Æ̨"ƺ¸̋̋¸"ß̶̋ "̋©̋ø"˚æ­Ø¸ One of the misapprehensions about studies of “porn after porn” Æœ"ß̶̇ß"ß̶̋ "ŒÆœÆºß̋øıø̋ß"¬̶̇ß"ß̶̋ " º¸"̇œ"̋©Æ¸̋º˚̋"ß̶̇ß"ß̶̋ø̋"̇ø̋" 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 pornographies increasingly suggests is that while mainstream and alternative, 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 ̇øßÆ ˚Æ̇Ø "4̇ß̶̋ø"ß̶̇º"¸ÆœŒÆœœ"ß̶̋"œß­¸ "æ̨"º̋¬"̇º¸"̇Øß̋øº̇ßÆ©̋"ıæønographies, 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 ßæ"æ ̋ø"ßæ"ß̶̋"œß­¸ "æ̨" ıæøº"̨̇ß̋ø"ıæøº "Æœ"̇"©̋ø "¬̋Ø˚æŒ̋"ı­̈ØÆ˚̇tion that contributes to the further opening up of porn studies. Continuing in the spirit of earlier collaborative work between artists, activists and academics it advances an approach that shows how commercial and non-commercial, mainstream and alternative, professional and amateur are increasingly entangled, as well as the diversity and distinctiveness of contemporary pornographies. References Jacobs, Katrien, Marije Janssen and Matteo Pasquinelli, eds. 2007. C’Lick Me: A Netporn Studies Reader. Amsterdam: Institute of Network Cultures. 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 Perspectives on the Politics of Porn Performance and Sex_Work as Culture Production. Berlin: b_books. 15 'LPGAM"$G?QGL ")GMT?LL?"/?GL? "(CBCPGAM"<CAA? INTRODUCTION This book examines the “alternative pornographies” which have gradually penetrated the pornosphere after the digital revolußÆæº "#Øß̶æ­̶̌"̨æøŒœ"æ̨"¸Æ ̋ø̋ºßÆ̇ßÆæº "æø"̋©̋º" ø̋œÆœß̇º˚̋ "̨øæŒ" a dominant (heterosexual and heteronormative) discourse have ̇ج̇ œ"̈̋̋º"̇"ı̇øß"æ̨"ß̶̋"ıæøºæ̌ø̇ı̶Æ˚"̌̋ºø̋ œ"̶ÆœßæøÆ˚̇Ø"¸̋©̋Øæıment (Williams [1989] 1999), it is only thanks to the spreading of digital technologies and networked distribution channels that ̇º"̇øø̇ "æ̨"¸Æ ̋ø̋ºß"œ­̈ª̋˚ßÆ©ÆßÆ̋œ" "¬æŒ̋º ".)$6"̇º¸"ł­̋̋ø "ºæº" normative bodies and taste (sub)cultures – have found full discursive, political, and sometimes commercial visibility within the broad arena of pornography and adult entertainment. However, the idea of “the alternative” itself brings some problematic issues to the fore, most especially concerning the variety and diversity of pornographic forms that could fall under this exß̋ºœÆ©̋"¸̋ ºÆßÆæº " 5ı̋˚Æ ˚̇ØØ " Æß" Æœ"ł­Æß̋"¸Æ ˚­Øß" ßæ" ­º¸̋øœß̇º¸" ¬̶̇ß",æ̇ºº̇"#º̌̋Ø œ" ̶̇ø¸˚æø̋"ı­ºŁ"øæ˚Ł"̋Œæ"ıæøº "&Æ̇º̇"6æøø̋œ œ" ıæøº"ß̋øøæøÆœŒ "̇º¸"Wifey’s World œ"¸æŒ̋œßÆ˚" æø̇Ø "̋®ıØæÆßœ" might have in common, apart from their “oppositional” status. 4̋̌̇ø¸Ø̋œœ"æ̨"ß̶̋Æø"¸Æ ̋ø̋º˚̋œ "ß̶̋œ̋"º̋¬"ıæøºæ̌ø̇ı̶Æ̋œ"œ̋̋Œ" in fact to share at least one common trait, for they all “attempt to ¸̋ º̋"ß̶̋Œœ̋Ø©̋œ"ß̶øæ­̶̌"̇"variety of oppositions to mainstream culture – and especially mainstream porn” (Attwood 2007, 449; emphasis added). These new “porn professionals” and activists (Attwood 2010) lay explicit claim to political antagonism (as in ıæœß" ıæøº" æø" ł­̋̋ø ̨̋ŒÆºÆœß" ıæøº " ¸̋©̋Øæı" ̇" ¸Æ ̋ø̋ºß" Œ̇øŁ̋ß positioning strategy, and create a counter-aesthetics (as is the case with amateur and alt/indie porn). In so doing, not only they claim ̇"œı̋˚Æ ˚"œ̶̇ø̋¸" ̇º¸"æııæœÆßÆæº̇Ø "Ƹ̋ºßÆß "̈­ß"ß̶̋ "̇Øœæ "ßæ"œæŒ̋" 16 Porn after Porn extent, give consistency to the notion of mainstream, in itself a “neutral” category that exists mainly because of this opposition. As a central issue in the study of alternative pornographies, this ˚æº Æ˚ß̋¸" ø̋Ø̇ßÆ溜̶Æı" ̈̋߬̋̋º" ̇Øß̋øº̇ßÆ©̋" ̇º¸" Œ̇ƺœßø̋̇Œ" Æœ" ̇" leitmotiv throughout this anthology, but particularly directly ad¸ø̋œœ̋¸"ƺ"æ­ø" øœß"̨æ­ø"̋œœ̇ œ "+º"̶̋ø"̇øßÆ˚Ø̋ "5­œ̇ºº̇"2̇̇œæº̋º" deals with the impossibility of clearly separating the two spheres in the “meshwork” of contemporary online pornography. Bill Oš̋ø̈ "̇º¸"%Ø̇øÆœœ̇"5ŒÆß̶"̨æ˚­œ"ß̶̋Æø"̇ßß̋ºßÆ溜"œı̋˚Æ ˚̇ØØ "æº"̇Øß" porn: while the former investigates the controversial articulation of a subcultural “Otherness” in websites like Suicide Girls and the Blue Blood network, the latter inquires into the amphibolic socioeconomic status of alt porn producers like Joanna Angel and Eon /˚-̇Æ ")Ææ©̇ºº̇"/̇ƺ̇ œ"˚̶̇ıß̋ø"̨æ˚­œ̋œ"æº"ß̶̋"ø̋ıø̋œ̋ºß̇ßÆæºal and enunciative intersections between queer porn and gonzo ß̶øæ­̶̌" ß̶̋"̇º̇Ø œÆœ"æ̨"̇" さここぜ" ØŒ"¸Æø̋˚ß̋¸" ̈ " ß̶̋" Œ̇ƺœßø̋̇Œ" porn star Belladonna. Contemporary alternative pornographies share other common traits in their claims to exceed “normal” (mainstream) porn ƺ"ß̋øŒœ"æ̨"̇̋œß̶̋ßÆ˚œ "Ƹ̋ºßÆß "ıæØÆßÆ˚œ "̇º¸"­œ̋øœ "̋®ı̋øÆ̋º˚̋ "+º" these ways, these pornographic forms seem to position themselves after and beyond “porn,” – i.e. after a common sense idea of porn ­º¸̋øœßææ¸"̇œ"̇" ®̋¸ " ­ºıø̋ß̋ºßÆæ­œ"̇º¸"̶̇ÆœßæøÆ˚̇Ø" ŒæºæØÆß̶ " – revealing an increased self-consciousness and more ambitious aims. $æøøæ¬Æº̌"̇º¸"̇¸̇ıßƺ̌"#º¸øÎ"$̇ ƺ œ"ºæßÆæº"æ̨"sur-western – inaccurately translated in English as “super western,” thus partly betraying its original meaning – we could describe this kind of ıæøºæ̌ø̇ı̶ "̇œ"̇" ø̋º̋¬̋¸ "ıæøº"ß̶̇ß"¸æ̋œº ß"¬̇ºß" ßæ"̈̋"ª­œß"Æßself, and looks for some additional interest to justify its existence – an aesthetic, sociological, moral, psychological, political […] interest, in short some quality extrinsic to the genre and which is supposed to enrich it” ([1957] 2005, 151). This idea of sur-porno could be productively employed to describe the status of contemporary alternative pornographies: porn that refuses to be “simply ıæøº "̇º¸" º¸œ"¸Æ ̋ø̋ºß"Œ̋̇ºÆº̌œ"̇º¸"̇"º̋¬"raison d’être “outside” itself – in “some additional interest” – while always remaining faithful to some of its own basic generic tenets. E. Biasin, G. Maina, F. Zecca - Introduction 17 This “additional interest” is often embodied by the political/ subcultural value of these new pornographic representations. In her chapter, Micha Cárdenas analyses queer porn paysites as (potential) postcapitalist projects, drawing on the work of the femiºÆœß" ̋˚æºæŒÆœß" ¸­æ" , " - " )Æ̈œæº )ø̶̇̇Œ " ¬̶ÆØ̋" -̇ßøÆ̋º" ,̇˚æ̈œ œ" article documents the struggle of netporn to maintain its “radical promises,” in a pornscape dominated by serialization and “tamed obscenities.” According to Rachele Borghi, political militancy is even more pivotal in post porn, whose aim is to smash capitalism and patriarchal order through the public display of non-normative bodies and sexualities. As clearly stated by its own self-proclaimed “label,” feminist porn is also centred on social and political claims: “the feminist right for control over our bodies,” the right to “be horny,” the right to be realistically represented in porn. Ingrid Ryberg describes the political heritage of contemporary feminist, lesbian and queer porn, tracing its legacy in feminist experimental cinema, classic ̨̋ŒÆºÆœß" ØŒ"ß̶̋æø "̇º¸"ß̶̋"ごぜせこœ" œ̋®"¬̇øœ " Another “additional interest” is at stake in feminist porn and, to some extent, in many of the forms and sub-genres ascribable to sur-porno: as Muriel Andrin points out in her analysis of three ¬̋ØØ Łºæ¬º" '­øæı̋̇º" ̨̋ŒÆºÆœß" œ̶æøß" ØŒœ" ˚æØØ̋˚ßÆ溜 " ̨̋ŒÆºÆœß" ıæøº"Œ̇øŁœ"Æßœ"̌̋º̋øÆ˚"¸Æ ̋ø̋º˚̋"̨øæŒ" Œ̇ƺœßø̋̇Œ "ıæøº"ıøÆŒ̇øily on the basis of a major focus on aesthetics – better shot, lit ̇º¸"̇˚ß̋¸" ØŒœ "¬̶Æ˚̶"̇ø̋" ̶Æı"̋ºæ­̶̌"ßæ"Ø̋̇©̋"æ­ß"æº"ß̶̋"˚æ ̋̋" ß̇̈Ø̋ " #ß߬ææ¸"さこごさ "しし "̌ææ¸"œßæøÆ̋œ "̇"¸Æ ̋ø̋ºß"̌̇ ̋ "̇º¸"œ̋Ø̨ ø̋ ̋®Æ©Æß " 9Æß̶" ̇" œÆŒÆØ̇ø" Œ̋ß̇¸Æœ˚­øœÆ©̋" ̇ßßÆß­¸̋ " ̇" ̌̇ " ̶Æıœß̋ø" fanzine like BUTT" ¸̋œ˚øÆ̈̋¸"ƺ"2̋ß̋ø"4̶̋̈̋ø̌ œ"̇øßÆ˚Ø̋ "ø̋ ¬æøŁœ" Œ̇ƺœßø̋̇Œ" œ̋®­̇Ø "̇̋œß̶̋ßÆ˚œ"ƺ"æø¸̋ø"ßæ"æ ̋ø"̇"º̋¬"ıæœß ıæøºægraphic nonheroic form of masculinity, at the crossroads between porn, consumerism, and art. These pornographies also seem to exceed mainstream porn – or, at least, the common understanding of what “the mainstream” is – ̈ "˚̶̇ØØ̋º̌ƺ̌"Æßœ" ˚ææŁÆ̋ ˚­ßß̋ø " ,̇˚æ̈œ"さここず "さし "̇º¸" ̇øßÆ ˚Æ̇Øly enhanced” (Härmä and Stolpe 2010, 113) standards of beauty and by opening the representational arena to a wider variety of body types. In his thorough account of the pornography of disability, Tim Dean delves deeper into this area, addressing the processes of sexual mobility inherent in gay amputee porn and their pedagogi- 18 Porn after Porn cal function towards non-normative sexualities and pleasures. The ¸ÆœıØ̇ "æ̨"ºæº ˚溩̋ºßÆæº̇Ø" "­º ß "̇̌̋ƺ̌ "ł­̋̋ø" "̈æ¸Æ̋œ"Æœ"̇Øœæ" one of the distinctive features of so-called amateur porn, together with the “enhanced” sense of reality it claims to provide. In her article, Kristina Hofer investigates the construction of this “realness” ß̶øæ­̶̌"ß̶̋"ıæøºÆ ˚̇ßÆæº"æ̨"ß̶̋" ƺßÆŒ̇˚ "̇º¸"¸̇ÆØ " ØÆ̨̋"æ̨" œ­ıposedly) real, ordinary (heterosexual) amateur couples, while Fed̋øÆ˚æ"<̋˚˚̇"̇ßß̋Œıßœ"̇"˚̇ß̋̌æøÆœ̇ßÆæº"æ̨"ß̶̋"¸Æ ̋ø̋ºß"ß ıæØæ̌Æ̋œ"æ̨" online amateur porn, between gift economy and corporate practices, mainstream and alternative, gonzo porn and home movies. The development of sub-genres and aesthetic/political practices that explicitly posit themselves as “the alternative” to mainstream porn and as the pornographic home of (subcultural) niches and non-normative subjectivities also tells us something about the transformation of porn audiences. We still know very little about ̶æ¬"¸Æ ̋ø̋ºß"̇­¸Æ̋º˚̋œ"˚溜­Œ̋ "̇ııøæıøÆ̇ß̋"̇º¸"ø̋ œÆ̌ºÆ̨ "¸Æ̨ferent kinds of adult materials – and deeper research is still needed in this area.1 However, these “sur-pornographic” forms of production testify to the existence of new porn consumers: queer (or, at least, not exclusively male and heterosexual), informed, exigent, ̨ø̋̋"ßæ"˚̶ææœ̋" ̨øæŒ"ß̶̋" ƺ ºÆß̋"ıæøºæ̌ø̇ı̶Æ˚"æ ̋ø "̇º¸" "̇̈æ©̋" ̇ØØ" "˚̇ı̇̈Ø̋"æ̨"ı̋øœæº̇Ø"̇º¸"̇˚ßÆ©̋"ø̋̇¸Æº̌œ"æ̨"¸Æ ̋ø̋ºß"ıæøºægraphic representations, even of those ascribable to mainstream ıæøº "6̶̋œ̋"º̋¬"˚溜­Œ̋øœ"˚̶̇ØØ̋º̌̋"ß̶̋"æظ ̨̇œ̶Ææº̋¸" ̋ ̋˚ßœ " paradigm – the porn consumer as a male porn addict, victim of the “sovereign power” of pornography – as Florian Voros explores in his chapter on domesticated uses of (mainstream) porn. In a way these new porn viewers mirror the “decidedly less straight” (Attwood 2010), militant, self-conscious, and “talkative” new porn producers. One of the distinctive features of this new 1 6̶̋" ø̋œ̋̇ø˚̶" æº" ıæøº" ̇­¸Æ̋º˚̋œ" Æœ" ̇º" ̋®ı̇º¸Æº̌" ̋ظ" ̇ß" ß̶̋" ŒæŒ̋ºß " 6̶̋" øœß"̋®ß̋ºœÆ©̋"Œ̋¸Æ̇ ̋ß̶ºæ̌ø̇ı̶Æ˚"œß­¸ "æ̨"ıæøº"̇­¸Æ̋º˚̋œ "Porn Research, conducted by Clarissa Smith, Feona Attwood, and Martin Barker, is now at the stage of data analysis (see: http://www.pornresearch.org). An ethnographic inquiry of feminist porn audiences is the subject of Alessan¸ø̇"/溸ƺ œ"2̶&"¸Æœœ̋øß̇ßÆæº"̇ß"ß̶̋"7ºÆ©̋øœÆß "æ̨"5­º¸̋øØ̇º¸ "7-" œ̋̋ " http://www.feministdesires.com). Sharif Mowlabocus and William Leap ̇ø̋"̋¸Æßƺ̌"̇"œı̋˚Æ̇Ø"Æœœ­̋"æº"ıæøº"̇­¸Æ̋º˚̋œ"æ̨"4æ­ßØ̋¸̌̋ œ"º̋¬"Porn Studies journal, scheduled for publication in May 2015 (issue 6). E. Biasin, G. Maina, F. Zecca - Introduction 19 wave of pornography production is, in fact, the increasing importance of the “voices” of its protagonists: in alt/indie/queer/ feminist/post porn (and even in the most “genuine” outcomes of amateur porn), sexual representation and erotic imagery are constantly “underpinned” by political, artistic or simply personal statements, which take the shape of intimate diaries, manifestos, articles, essays and so on, conveyed through the new digital means of distribution (blogs, websites) or more traditional publishing practices (books, journals). For this reason, this volume puts aca¸̋ŒÆ˚"ø̋œ̋̇ø˚̶"æº"ß̶̋œ̋"ßæıÆ˚œ"œÆ¸̋"̈ "œÆ¸̋"¬Æß̶"ƺœÆ¸̋øœ "ıæƺߜ" æ̨"©Æ̋¬ "ƺ˚Ø­¸Æº̌"̇"º­Œ̈̋ø"æ̨"ı̋øœæº̇Ø"̇˚˚歺ߜ"̇º¸"ø̋ ̋˚ßÆ溜" ̈ " Ł̋ " º̇Œ̋œ" ƺ" ß̶̋" ̋ظ" æ̨" ̇Øß̋øº̇ßÆ©̋" ıæøºæ̌ø̇ı̶Æ̋œ " $̇ø̈̇ø̇" DeGenevieve, Mia Engberg (interviewed by Muriel Andrin), Shine Louise Houston, Erika Lust, Sergio Messina, and WARBEAR (aka Francesco Macarone Palmieri). This project would not have been possible without the support of many friends and colleagues. The editors wish to thank: Lisa Andergassen, Feona Attwood, Alessando Bordina, Alberto Brodesco, Jan Distelmeyer, Gloria Lauri-Lucente, Elena Marcheschi, Sara Martin, Anika Meier, Laura Odello, Serena Pezzini, Leonardo Quaresima and all the research group at the University of Udine-DAMS Gorizia, Audacia Ray, Elisa Shea, Courtney Trouble. Special thanks also to .­˚̇"6̇¸¸Ææ "(ø̇º˚̋œ˚̇"#¸̇Œæ "'øŒ̇ººæ"2̋ø̋œœÆºÆ "̇º¸"̇ØØ"ß̶̋"œß̇ " at Mimesis International for their competence and patience. We owe a particular debt of gratitude to Peter Lehman, Alessandra Mondin, and Clarissa Smith for their precious and irreplaceable help. References #ß߬ææ¸ "(̋æº̇ "さここず " 0æ"/æº̋ "5̶æß "%挌̋ø˚̋ "2æøºæ̌ø̇ı̶ "̇º¸" New Sex Taste Cultures.” Sexualities 10 (4): 441-456. #ß߬ææ¸ " (̋æº̇ " さこごこ " ;æ­º̌̋ø " ı̇Ø̋ø " ¸̋˚Ƹ̋¸Ø " Ø̋œœ" œßø̇Æ̶̌ß " 6̶̋" New Porn Professionals.” In Porn.com: Making Sense of Online Pornography, edited by Feona Attwood, 88-104. New York: Peter Lang. Attwood, Feona. 2012. “Art School Sluts: Authenticity and the Aesthetics of Alt Porn.” In Hard to Swallow: Hard-Core Pornography on Screen, ̋¸Æß̋¸"̈ "%Ø̇Æø̋"*ƺ̋œ"̇º¸"&̇øø̋º"-̋øø "しさ じす ".æº¸æº "9̇ØØ æ¬̋ø"2ø̋œœ 20 Porn after Porn Bazin, André. (1957) 2005. What is Cinema? Volume 2. Translated and edited by Hugh Gray. Berkeley: University of California Press. Härmä, Sanna, and Joakim Stolpe. 2010. “Behind the Scenes of Straight Pleasures.” In Porn.com: Making Sense of Online Pornography, edited by Feona Attwood, 107-122. New York: Peter Lang. Jacobs, Katrien. 2007. Netporn: DIY Webculture and Sexual Politics. 0̋¬";æøŁ "4欌̇º"̇º¸".ÆßßØ̋ ̋ظ