Talk:Feminist pornography

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Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 21:12, 17 January 2022 (UTC)

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 25 August 2021 and 9 December 2021. Further details are available on the course page. Student editor(s): Wgsano99.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 21:12, 17 January 2022 (UTC)

Clarification needed
"Pornography first emerged during around the 1970s to the mid-20th century." Do you mean Feminist pornography first emerged or regular pornography became popular? The statement as it currently stands is clearly not true! Freikorp (talk) 07:27, 18 April 2013 (UTC)

I agree. We have an article on Le Coucher de la Mariée (1896), a short film featuring striptease. Most of our articles on pornography consider this the pioneer of its genre. Dimadick (talk) 07:52, 27 May 2013 (UTC)


 * Until the author clarifies what on earth he was trying to mean with this absurd sentence, I am removing it on the grounds it serves no other purpose but to severely confuse the reader. Freikorp (talk) 08:19, 27 May 2013 (UTC)

Something missing in the introduction
There is something missing in the introduction. One sentence speaks about ideological struggles between second-wave and third-wave feminism. The next speaks about its consequences, including negative connotations concerning the role of women in the pornographic industry. How does one logically follow the other? Cause I fail to see a clear chain of events here. Dimadick (talk) 07:59, 27 May 2013 (UTC)


 * Yeah I agree. I am also bothered by the line "Consequentially pornography still currently exists". Of course pornography still currently exists, and the reason is still currently exists has nothing to do with feminism. Once again I am confused by what the author is trying to say here. Freikorp (talk) 09:21, 27 May 2013 (UTC)


 * That whole sentence "Consequentially pornography still currently exists but through denoting negative connotations towards women in pornographic film production." makes no sense at all. Whatever its intent was, it fails to convey any meaningful information. I'm deleting it. Tiggum (talk) 16:44, 4 June 2013 (UTC)

Source
Found a good article with info about this subject and Annie Sprinkle...

Feminist porn: sex is about female pleasure too --Scalhotrod - Just your average banjo playing, drag racing, cowboy... (Talk) 19:55, 10 July 2014 (UTC)

Did Dworkin really believe Snuff was real, and does it even matter?
The article says:

"Erroneously believing that the eroticized anguish scenes in Snuff were real, Dworkin structured once a night vigils at locations where the film was being publicized, up roaring associated protests by women in other US cities (as well as in the UK)."

(I added a "citation needed" on the first clause, i.e. after the comma, on the meanwhile.)

Dworkin and other anti-pornography feminists made it fairly clear that they see pornography as a form of hate speech against women. It's irrelevant to their point whether the scenes in Snuff or any BDSM porn film are real or faked, since the message to the audience is the same: "sexual/physical violence against a woman is fun." (According to their argument at least; I tend to agree but whether it's true doesn't matter for our purposes.) So I would question the relevancy of whether Dworkin did or didn't think the scenes in Snuff were real. For now I just added a citation needed, but maybe the clause should be removed entirely from the sentence. 2A02:908:DB25:EE00:213:E8FF:FEED:36FB (talk) 21:27, 8 May 2015 (UTC)

Notable Directors
Feminist porn directors include Courtney Trouble, Candida Royalle, Tristan Taormino, Madison Young, Shine Louise Houston, Jincey Lumpkin, Ovidie, Erika Lust, Jacky St. James, Marit Östberg and Poppy Sanchez, Anoushka, and Lucie Blush. Some of these directors make pornography specifically for a female or genderqueer audience, while others aim for a broad appeal across genders and sexual orientations.

Doris Wishman was one of the earliest female pornography film directors. She began by producing a series of nudist films without sex scenes, including Hideout in the Sun (1960), Nude on the Moon (1961) and Diary of a Nudist (1961). Years after it she also produced a series of sexploitation films.

Directed by Abiola Abrams in 2006, Afrodite Superstar is regarded as the first erotic film to be both directed by a black women and marketed at black women. Other black female directors in adult film include Shine Louise Houston, Diana Devoe, and Estelle Joseph, director of the award-winning City of Flesh series.

Swedish filmmaker Mia Engberg along with twelve different directors produced a collection of feminist pornographic short films titled Dirty Diaries which was released in September 2009. The financing, for the most part, came from the Swedish Film Institute.

Candida Royalle
In 1984, past adult performer (and Club 90 member) Candida Royalle (1950–2015) established Femme Productions to construct films from a woman's perspective. Even though Royalle did not brand or advertise her films as feminist, she identifies as a feminist, her aspirations surely can be viewed as feminist, and she is often considered to be one of the pioneers of feminist porn. She is also viewed as a founder of the genres of porn for women and couple's porn. Royalle started Femme Productions in 1984 with the aim to give adult movies a woman's voice and provide couples with video entertainment which they would be able to view together. She expressed that before 1984 the concept of couple's movies was mostly unheard of and the majority of distributors told her that women were not interested in pornographic films, which irritated her and motivated her to prove the distributors wrong. Since 2007, Royalle has produced 18 movies, and directed 13 of them.

Royalle began her pornographic career by writing and producing, while her partner, Lauren Niemi, directed. Niemi and Royalle established Femme Productions together with the support and financing of her ex-husband's family, who were producers and distributors in Europe. Royalle's ex-husband, Per Sjosted, was a producer and assistant director who contributed to the Femme project with Royalle and Niemi. Their first two movies were FemmE and Urban Heat. It was not until the production of the film Three Daughters, in 1987, that Royalle began directing. Royalle has stated that this production was one of the most expensive films she had worked on, with a $75,000 budget. Three Daughters soon became the largest seller for Royalle, and it received an award for the soundtrack, which was produced by a British musician, Gary Window, who worked with Pink Floyd and the Psychedelic Furs. Window was also the husband of the lead actress of Three Daughters, Siobhan Hunter.

"I created Femme in order to put a woman’s voice to adult movies and give men something they could share with the women in their lives. You’ll find them to be less graphic, and you’ll also find story lines, good original music and real characters of all ages."

- Candida Royalle

Royalle soon after produced a three-volume set, Star Director Series, and Revelations. Revelations had a more political message on the perspective of how life would not be life if we did not have the right to freely express ourselves artistically and sexually. Royalle explains that it was her way of retaliating against society's hostility towards the adult industry and the indifference of clients purchasing and renting adult movies, but not fighting for their rights to do so.

In 1995, Royalle became determined to fully return to production and signed on with Adam & Eve to fund and produce more Femme productions. My Surrender, released in 1996, won AVN's Best Actress award for Jeanna Fine. Other films that Royalle directed included The Gift, starring McCullough and Mark Davis, Bridal Shower, which featured Nina Hartley, One Size Fits All: A Sex Comedy In Five Acts, starring Nina Hartley, Missy, Shanna McCullough, Mark Davis and Tom Byron in Eyes of Desire, parts one and two.

In 2005, Royalle presented Caribbean Heat, which was shot in Panama and introduced Manuela Sabrosa. The film was produced by Italian writer/film-maker Michele Capozzi. Additionally, in 2007 Royalle produced a new sex comedy titled Under the Covers, that featured a mixture of new performers from New York and Los Angeles. Royalle also presented Afrodite Superstar, which was the beginning of a new era of a mix of talented actors and actresses from diverse ethnic backgrounds. Royalle said that this line was being labeled as Femme Chocolat. She expressed that her main aspiration with this project was to educate new young female directors.

Annie Sprinkle
Annie Sprinkle began working in the conventional porn business in the mid-1970s, and slowly shifted to directing her own pictures, such as Deep Inside Annie Sprinkle. In the 1990s, Sprinkle became involved in creating films, performances, and publications that were openly feminist. The majority of Annie Sprinkle's works are self-help style videos, such as Annie Sprinkle's Amazing World of Orgasm (2004) and The Sluts and Goddesses Video Workshop (1992), in which Sprinkle is portrayed as a skilled “sexpert”, encouraging the audience to experiment with elements of their own pleasures and fantasies. In the 1990s Annie Sprinkle switched from conventional porn to a feminist performance practice that combined live shows, writings on sexuality and instructional videos. Deep Inside Annie Sprinkle, the first film that Sprinkle both starred in and directed, incorporated an autobiographical emphasis: she displays to the viewer photographs of her youth at the beginning of the film. Unlike Sprinkle's later productions, Deep Inside was marketed to conventional porn viewers, and sold well, becoming the second leading grossing porn film of 1981. Sprinkle became well known in the queer art movement for being the first to promote the term "postporn", and because she co-signed the Post-Porn Manifesto in 1989. Postporn became a niche term in the 80s and 90s, and continues to be an influential praxis in the transfeminist and queer movements, specifically in the fields of contemporary video and performance art. Vikram Vincent 19:58, 22 December 2020 (UTC)

Performers
Dylan Ryan is a contemporary feminist porn star who feels her work comes from an empowering perspective by 'owning my authenticity' and '[making] the choices about what I'm doing on camera, who I'm doing it with, what situations I'm in,' while bringing what she believes is missing from mainstream porn. Ryan is an activist for sex workers, seeks to challenge stereotypes and misconceptions about women in the industry, and stresses the diversity of individual experiences. Vikram Vincent 19:59, 22 December 2020 (UTC)

Whats the difference?
Straight porn or feminist porn - its all porn at the end of the day. Also, ive been watching how feminism is trying to spread itself, everywhere. Females just want to control everything. 41.114.53.160 (talk) 04:24, 20 June 2022 (UTC)

Facts Baloo1047 (talk) 23:13, 2 September 2022 (UTC)

P
Poran 37.111.137.100 (talk) 18:11, 1 November 2022 (UTC)

Wiki Education assignment: Foundations of Feminism
— Assignment last updated by Avery Miller (talk) 23:20, 7 April 2023 (UTC)