Porn Studies

Se trata de un trabajo de investigación sobre producción de subjetividades y diferencias de género y sexualidad con relación a la prostitución y la mercantilización de los vínculos heterosexuales realizado sobre la base del análisis crítico de un corpus compuesto de notas periodísticas y clasificados de la Revista Hombre. Si bien la prostitución ha adquirido en el último tiempo cierta visibilidad en la agenda pública merced a su problematización con relación a la trata de personas y las formas de esclavitud sexual, su reproducción cotidiana, y por lo tanto incesante en discursos y prácticas, ha sido escasamente analizada. El trabajo crítico se dirige a señalar que la producción sociodiscursiva de varones-clientes y mujeres-prostitutas, en un contexto social de creciente mercantilización de los vínculos, resulta absolutamente legitimada, es decir, inadvertida e invisible merced al régimen de visibilidad producido en el contexto de la hegemonía cultural.

The cultural paradigms of the soft-porn era in Malayalam cinema had an emancipatory quality where the sensationalized body of the ‘bombshell’ starlets captivated the voyeuristic perceptions of regional spectators.* The celebration of these films by a suburban audience constructed a new public space for the realization of carnal desires and taboo fantasies. This article investigates how the soft-porn noon-shows contributed to a unique cultural experience of film-viewing in Kerala in the late 1990s that challenged the cultural elitism associated with regional cinema. It investigates the role of the audience in defining the historical significance
of the noon-show theatres, together with their origin, popularity and fall
in the larger narrative of the evolutionary metamorphosis of Malayalam cinema. The softcore phenomenon was an organic subversion of the hegemonic ideology of cinema, which has been used by upper-class cultural powers to maintain their moral presuppositions.

The rise of digital connectivity has created new spaces for innovation, expression, and enterprise, but it has also fueled unconventional and controversial economic activities. This study explores how social media platforms contribute to the proliferation of “porntrapreneurship” among university undergraduates, a phenomenon where students capitalize on sexually explicit content as a means of financial survival, status display, or personal branding. Anchored in a socio-cultural and economic lens, the research highlights the interplay between online visibility, peer influence, and the monetization of intimacy. Findings reveal that while social media serves as a catalyst for entrepreneurial creativity, it simultaneously normalizes risky behaviors, blurs the line between empowerment and exploitation, and raises ethical concerns about youth development in higher institutions. The paper concludes by reflecting on the implications for education policy, digital regulation, and youth guidance in an era where virtual spaces continue to redefine morality and livelihood.

Keywords: Social Media, Porntrapreneurship, Undergraduates, Digital Economy

Entre los inicios del siglo XX y mediados de la década del treinta, la ciudad de Rosario fue el segundo polo cinematográfico de la Argentina. Esta ciudad funcionó no sólo como un centro neurálgico de distribución de cintas extranjeras y nacionales en el interior del país sino que tuvo el volumen de producción de cintas de ficción más importante del período, luego de la Capital. Se trató, no obstante, de una producción discontinua e irregular, caracterizada por el surgimiento de realizadores  "accidentales" y productoras efímeras, que con frecuencia desaparecían luego de rodar una única película. En este sentido, Camilo Zaccaria Soprani se destaca por haber sido el realizador más prolífico de la época, monopolizando casi completamente la producción fílmica rosarina durante el período de transición del cine mudo al sonoro, con cuatro films realizados en el lapso de apenas siete años: el documental erótico ¡Mujer tú eres la belleza! (1928), el drama campero La leyenda del mojón (1929); el largometraje histórico Juan de la Cruz Cuello (1931) -dirigido por José Romeu y en el que Soprani se desempeñó como productor- y el film fantástico El hombre bestia o Las aventuras del Capitán Richard (1934), primera cinta con sonido óptico de Rosario y hoy considerada la primera película de ciencia ficción argentina. Por estas razones, y por tratarse del film postrero de Soprani, en el que de alguna manera aúna las tácticas de producción aprendidas en el transcurso de casi una década, en este trabajo nos ocuparemos especialmente de este último título.

The rise of social media has not only transformed patterns of communication but also introduced new economic ventures, one of which is the emergence of porntrapreneruship—a hybrid of pornography and entrepreneurial practices. This study investigates the proliferation of porntraprener activity among undergraduates of the University of Lagos (UNILAG), with a focus on the influence of digital platforms in enabling, normalizing, and monetizing explicit content creation. By employing a mixed-method approach involving surveys, focus group discussions, and content analysis, the research explores the motivations, socio-economic drivers, and perceived rewards that push students toward this controversial form of online entrepreneurship. Findings reveal that while financial pressures and the lure of online visibility serve as major catalysts, peer influence, digital anonymity, and the promise of rapid income sustain the practice. The study further underscores the ethical, psychological, and academic implications, calling for policy interventions, awareness campaigns, and digital literacy initiatives to guide undergraduates toward healthier, sustainable avenues of self-reliance.
Keywords: Social Media, Porntrapreneruship, University Undergraduates, UNILAG

Este artigo discute as politicas de genero em torno do feminino ao colocar em tensao o campo do pornografico a partir da reflexao sobre o pos-porno no contexto da America Latina. Nesse sentido, focaremos no conceito de excesso como um elemento estetico articulador do discurso politico e critico do universo pos-porno latino-americano, privilegiando as reflexoes a analise dos videos da artista colombiana Nadia Granados, que interpreta a personagem La fulminante. palavras-chave: excesso; pos-pornografia; America Latina.

This article examines the representation of rape in cinema through the subgenre of rape-revenge films, analyzing how symbolic constructions of sexual violence are shaped and perpetuated by cultural narratives. Drawing on criminological and feminist perspectives, the study investigates the intersections between cinema, gender, and violence, questioning whether cinematic depictions reflect or distort social realities. The analysis includes six productions—The Virgin Spring (1960), I Spit on Your Grave (1978), Irreversible (2002), Promising Young Woman (2019), O Silêncio do Céu (2016), and I May Destroy You (2020)—highlighting how notions of masculinity, revenge, and victimhood are constructed and reinterpreted across different contexts. Findings suggest that while early films reinforced stereotypes of rapists as monstrous strangers and victims as passive figures, more recent works challenge such archetypes, offering nuanced portrayals that emphasize systemic gender violence, victim agency, and possibilities of catharsis. Ultimately, the article argues that cinema functions both as a mirror and a shaper of cultural perceptions about sexual violence, and that its critical analysis can contribute to broader criminological and feminist debates on power, gender, and justice.

Para muchos, pornografía es excitante. Para algo asqueroso. Incluso la ciencia -al momento de discutir sobre ésta-, puede adoptar una posición pornófila o pornófoba, escribe Soto en esta entrega de sus 'Modus Vivendi' . De hecho, discutir sobre pornografía, como lo sugirió la filósofa italiana Michela Marzano, no significa predicar su prohibición o la culpabilización, sino, bien, interrogarse sobre lo que revela de nuestra relación el cuerpo, con el deseo, con uno mismo y con el otro.

Este ejercicio de investigación-autoficción busca relatar los sucesivos movimientos que he efectuado en mi subjetividad sexual a partir de los intercambios teóricos y corporales que he venido desarrollando durante dos años, en los cuales he puesto en marcha una serie de  interrogaciones frente los transfeminismos, las disidencias sexuales y la pospornografía. Durante dos años de investigación constituí un amplio corpus de investigación  pospornográfico compuesto por muchas de las entrevistas, textos teórico-políticos, intervenciones artísticas, performances, relatos autobiográficos y textos historiográficos, que componen los principales referentes del movimiento posporno y que constituyen las  fuentes principales de este experimento investigativo. Este proyecto emerge de los múltiples intercambios que surgen del cruce entre mi experiencia vital, la revisión de contenidos y archivos audiovisuales y el análisis bibliográfico del corpus posporno que acá les propongo. Por otro lado, y como un ejercicio de localización estratégica, el trabajo busca indagar acerca de las actualizaciones del queer al cuir, mediante la enunciación de un devenir del sur globalizado, en donde se busca destacar los desplazamientos que emergen del uso creativo y artístico de la disidencia sexual en un contexto racializado y colonizado como “Latinoamérica”. Debido a esto he decidido deliberadamente utilizar el prefijo “pos” en vez
del “post” para dar cuenta de las formas en las que este movimiento transita por estos sures.

In this dissertation I examine relationships between music and sound design in American
superhero media. I examine how sound and music are used in audiovisual media to both establish
and deconstruct generic conventions. I discuss music and sound design in superhero media from
several angles, including their relationship to genre, aesthetics, and popular culture. I begin each
chapter with broader theories related to the topics I will discuss and then use case studies to show
examples of these broader theories. In Chapter 1, I examine superhero media as a “supergenre”
that incorporates musical and sound conventions of multiple discrete media genres. In Chapter 2,
I examine superhero media as a middlebrow postmodern transmedia genre and examine how
these conventions affect the reception and production of superhero media versus other genres. In
Chapter 3 I examine fan interactions with superhero media, including production and reception
of fan-made media as a form of creative interaction. In Chapter 4, I examine various forms of
parody as interaction with the conventions of superhero media.

Delhi's brothels and courtesans possess a deeply rich and intricate history, one interwoven with the cultural fabric, political upheavals, social transitions, and shifting legal frameworks spanning from the grand Mughal era through British colonial times to the tumultuous modern age. This expansive article endeavors to explore the genesis, artistic grandeur, societal role, decline, legal battles, and ongoing activism related to these spaces and the individuals who defined them.

Belinda Starling’s The Journal of Dora Damage (2008) is a neo-Victorian Gothic novel which discusses women’s position in the pornography business with the possible prospects for liberation or sexploitation. Dora becomes a bookbinder of pornographic materials out of economic necessity to discover that pornography is an underworld where women become the victims of men’s power and hidden desires. Also, she realises that exploitation goes beyond sexuality reaching the realms of race and ethnicity. In this context, Judith Butler’s notions of precariousness and vulnerability become very useful for the analysis of issues like agency and resilience in the novel. However, as this paper will demonstrate, sexual exploitation and commodification of women persist in our contemporary cultures as they did in the Victorian past

This article focuses on women-oriented huangwen-sexually explicit online fiction created and circulated by women in China. While Chinese obscenity laws and state-led campaigns have increasingly targeted huangwen for its explicit content, this category remains a vital space where women explore desire, pleasure, and bodily autonomy beyond the constraints of mainstream sexual discourse. Drawing on virtual ethnography and semi-structured interviews, this paper traces how fans use both textual and paratextual practices to negotiate sexual meanings, challenge stigmas, and develop sexual knowledge around women's sexuality, body and desire. The article conceptualizes these practices as part of an "intimate counterpublic," a space of gendered and affective solidarity through which marginalized sexual experiences become visible and discussable.

This study examines the demographic factors and severity of pornography addiction in India, analysing the impact of age, relationship status, co-morbid conditions, and socio‑cultural norms on addiction patterns and treatment outcomes.
Methods: A retrospective, observational, cross-sectional study was conducted with 589 participants (583 males, 6 females) aged 18 and older, diagnosed with pornography addiction as per ICD‑11 Compulsive Sexual Behavior Disorder criteria. Participants sought treatment through Allo Health’s online and offline platforms. Data on demographics, clinical diagnoses, and treatment outcomes were extracted from electronic health records and analysed using SPSS‑14. Treatment options included pharmacological interventions (SSRIs, bupropion) and psychotherapy (cognitive‑behavioural therapy, motivational interviewing, relapse prevention).
Results: The majority (374) were under 30 (mean age 28.98). Most were single (287), followed by married (167), in relationships (112), and divorced (6). Sexual orientation: 568 heterosexual, 15 bisexual, 2 homosexual, 4 undisclosed. Younger age was significantly associated with higher addiction severity (p = 0.004), suggesting early exposure and digital overuse lead to compulsive consumption. Singles had significantly higher severity than those in relationships or married (p < 0.001), likely due to limited sexual expression. Treatment: 338 received medication only, 207 therapy only, 42 a combination. Younger individuals were more likely to undergo therapy. Two participants were ineligible for treatment.
Conclusion: The study highlights the complexity of pornography addiction in India, showing strong links between age, relationship status, and addiction severity. Younger individuals face higher vulnerability due to early exposure, poor coping mechanisms, and digital engagement. Socio-cultural factors and stigma further influence addiction and help-seeking. Findings emphasize the need for culturally sensitive interventions, digital literacy programs, and public health initiatives. Future research should explore longitudinal trends, gender disparities, and the impact of emerging digital technologies.

En esta provocadora y lúcida tesis, la autora emprende un análisis crítico de la llamada "pornografía feminista" a través de la película Cinco historias para ellas de Erika Lust, una directora que se ha convertido en emblema del cine erótico dirigido a mujeres; y lejos de asumir sin cuestionamientos las credenciales feministas de esta propuesta audiovisual, examina con agudeza si la mirada femenina que se presume en el filme representa una ruptura real con la lógica patriarcal del porno mainstream o si, por el contrario, reproduce enmascaradamente sus premisas bajo una estética más sofisticada.
A partir de una sólida base teórica en estudios de género, teoría fílmica y debates feministas sobre sexualidad y representación, Cruz Trejo plantea preguntas clave: ¿Puede una mujer reproducir la mirada masculina? ¿Qué se entiende por empoderamiento en los discursos visuales sobre el placer femenino? ¿Dónde radica la diferencia entre una propuesta estética femenina y una verdaderamente feminista?
El resultado es un texto riguroso, que pone en tensión los límites entre lo femenino y lo feminista, y que propone una lectura crítica de lo que consumimos bajo etiquetas progresistas.

And so greatly can necessity prevail . .. that it made us risk going in this manner and placing ourselves in a sea so treacheroust * Bryant Smith Chair, School of Law, University of Texas at Austin. I want to especially thank Professor Tamara Piety. Her support has been unfailing and she has always been "fair, kind, and true."

Over the past two years, U.S. states have quietly passed or introduced 129 bills requiring individuals to verify their age — often via government ID or financial transaction records — before accessing adult content online. As of mid-2025, Pornhub has begun geoblocking entire states in response to the legal and technical risks posed by these mandates.

This paper establishes that these laws are not only ineffective and unconstitutional, but structurally dangerous. They create a nationwide blackmail-ready registry of porn viewers — often hosted by unregulated, third-party verification companies. This is a ticking time bomb for:

    Blackmail campaigns

    Data breaches

    Government surveillance creep

    Social coercion and voter suppression

This thesis is very much indebted to my supervisor, Dr. Susan Strega. In my first attempt at a career in professional dance I was sat down and told that if I could just first a way to "polish my rawness" I could be a great dancer. I would like to thank Susan for embracing my rawness and encouraging me, through her own writing and actions, to redirect it constructively towards my political aims. I would also like to thank her for sharing (and on bad days, exceeding) my passion in my work and for her provocative insights into my analysis. I am also grateful to Susan for allowing me access to the expansive reference library she keeps in her head. Secondly, I would like to thank both Dr. Donna Jeffery and Dr. Steve Garlick for agreeing to sit on my committee and for their contributions to my thesis. I am also appreciative to Dr. Daniel Scott for his assistance with two of the chapters appearing in this thesis. Thank you for the conversation and the dramatic flair. I would also like to thank the Sara Spencer Foundation for their financial generosity, which was greatly appreciated. To my mother, Lila Cresswell, who survived my teenage years with grace, thank you for your high expectations, which have always kept me focused and motivated. Your intelligence, strength and integrity and are an inspiration. Thank you as well to my sister, Jenneka, whose uncompromising brilliance and cunning wit has necessitated the maintenance of a sharp mind. Finally I would like to give thanks to Josha Illot for being the glaring exception to all that is wrong with conventional masculinity. Your patience, steadiness and gentle soul have the ability to ground me even in my most tumultuous states and I am very fortunate to have you in my life.

Pornography has historically been closely connected with the rise of communication technologies, often providing male customers the justification to become early adopters. In recent decades, the digitalization of data, the Internet, and the World Wide Web have accelerated this trend. Cybersex-electronic pornography-has proved an early and profitable market for almost every new computer-based service. As well as providing revenues, cybersex has also trailblazed new business and operational practices that later diffuse to other markets.

Este artículo señala la abundancia y diversidad de películas englobadas bajo el rótulo de cine pornográ!co. En este sentido, el autor argumenta que los cuerpos ahí representados no se deberían englobar en una imagen atemporal y ubicua. Para hacer evidente tales diferencias se ofrece una revisión de tres de los cuerpos que intervienen en el cine porno: a) el actor, quien se expone desnudo ante la cámara; b) el espectador, cuya estimulación puede dar paso a la actividad sexual, y c) el cine, cuyos encuadres !jan la mirada en determinadas partes del cuerpo humano. Esta revisión permite advertir la profunda diferencia genérica que existe entre los cuerpos representados, pero también arroja luz sobre las diferencias étnicas y !sionómicas que constituyen parte importante de este tipo de cine. Las conclusiones de este trabajo están lejos de poner punto !nal a una discusión colectiva, pero contribuyen a dialogar de una manera razonada.

O  artigo  analisa  o  filme  Eros,  de  2024,  dirigido  por Rachel Daysi. O filme é feito a partir da montagem de imagens  captadas  com  a  constituição  de  um  dispositivo:  a diretora pediu a pessoas que filmassem suas “intimidades” em motéis. Busca-se mostrar como o filme revela as mutações contemporâneas da noção de intimidade, bem como os limites entre as imagens amadoras da vida privada e o espetáculo. Além do mais, enfatiza-se como, em Eros, o gênero feminino funciona  como  um  elemento  que  desestabiliza  certa  hierarquia da distribuição dos olhares e o modo de elaboração de dispositivos no documentário brasileiro recente.

This article explores the rich history of Delhi’s brothels and courtesans, focusing on the cultural art form of mujra, which originated in the Mughal era as a refined dance and musical performance by courtesans (tawaifs). These women were esteemed custodians of art, culture, and social etiquette, influencing aristocratic society through their performances and intellectual salons. During British colonial rule, Victorian morality stigmatized courtesans, equating them with prostitutes and imposing restrictive laws, leading to their social decline. The consolidation of Delhi’s red-light areas into GB Road under British commissioner Garstin Bastion created the city’s largest red-light district, which persists today. Notable courtesans like Duanni Jan and Moti Jan left enduring cultural legacies. Post-independence, the traditional courtesan culture faded, with mujra losing its artistic stature. Despite challenges, courtesans’ contributions to Indian classical arts and social history remain significant. Contemporary advocacy and legal reforms, including the 2022 decriminalization of prostitution, continue to shape the lives of sex workers in Delhi’s evolving socio-cultural landscape.

In dieser Studie wollen wir nachweisen, daß es für die in der W ortbildungsforschung hartnäckig postulierte Existenz zweier eindeutig distinkter Kategorien 'K opulativkom positum ' und 'Determ i nativkompositum' innerhalb der N -N -K om p osita des Deutschen weder im Sprachsystem noch im Sprachgebrauch irgendeine Evidenz gibt. Vielmehr läßt sich zeigen, daß 'K opulativkom posita' in ihren m orphosyntaktischen und semantischen Eigenschaften problem los mit den auch für Deter m inativkomposita geltenden Kriterien beschrieben werden können, und daß -gezeigt an einem Test -für Sprecher des Deutschen eine eigene K ategorie 'K opulativkom positum ' nicht existiert. In this study we wish to show that there is no evidence for a differentiation between nominal copulative com pounds and determinative com pounds either in the linguistic system or in the use o f the German language. Indeed, our results indicate that by remaining within the terms o f description o f determinative com pounds a more adequate description o f the m orphosyntactic and semantic properties o f the so called copulative com pounds can be obtained. A dditionally, an experiment confirms the non-existence o f the category 'copulative-com pound' for native speakers o f German. Je nach der paradigm atischen semantischen Relation zwischen den beiden Lexemen lassen sich nun drei große G ruppen von K opulativkom posita unterscheiden. 1. D ie erste (prototypische4) Gruppe umfaßt K om posita, deren K onstituenten K ohyponym e5 sind. Sie finden sich vor allem in den semantischen Paradigmen Personenbezeichnungen und Bezeichnun gen für Kleidungsstücke.

HAL is a multi-disciplinary open access archive for the deposit and dissemination of scientific research documents, whether they are published or not. The documents may come from teaching and research institutions in France or abroad, or from public or private research centers. L'archive ouverte pluridisciplinaire HAL, est destinée au dépôt et à la diffusion de documents scientifiques de niveau recherche, publiés ou non, émanant des établissements d'enseignement et de recherche français ou étrangers, des laboratoires publics ou privés. Distributed under a Creative Commons Attribution 4.0 International License Évaluer les interventions de prévention des IST et du VIH auprès des homosexuels masculins au Sénégal (projet ANRS 12139) -Rapport Scientifique

In the present master thesis I aim to describe how technology reshapes and transforms sexuality, but also to present a normative account of how the role of technology in the transformation of sexuality should be addressed as an issue of sexual education. The starting point of my analysis is the split between sex and reproduction. I argue that contraception technologies freed sexuality from the needs of reproduction, played an important role in the emergence of what Anthony Giddens defines as plastic sexuality and in the reordering of sexuality in relations to lifestyles. I then use the work of Don Ihde and Peter-Paul Verbeek in order to present how contraception technologies determine the very possibilities we have for interpreting our sexuality due to their role in our bodily and sensory involvement in a sexual act. My next step is to use Anthony Giddens’ approach towards modernity. I argue that our sexual identities, as part of our self-identities, are reflexively organized in the...

This essay explores how sequence-shots in Myroslav Slaboshpytskiy’s The Tribe stage the limit of the spectator’s understanding, their prolonged duration reinforcing the distance between spectator and onscreen diegesis, image and truth—a sublime structure that draws the spectator into an enhanced sensorial realm.  In embracing the content and form of new extremist and slow cinema, respectively, The Tribe not only re-configures defining features of these current discourses but problematizes the ethics of looking at violence.

This article explores erotic Twitter communities in Latin America that share sexual content through interactions and self-representations. Taking a multidisciplinary approach through virtual ethnography, it describes the factors shaping relationship dynamics and examines their implications for sexuality, eroticism, pornography, and pleasure. The results reveal the diversity of sexual practices and identities constructed and expressed on platforms such as Twitter, highlighting the multiple subject positions assumed in representing these experiences. This research contributes to the study of pornography in Latin America and opens debates that call for broader discussions on topics such as the virtual construction of consent, intersectionality, and the role of virtuality in the expression of sexualities.

Notes:  I would like to express my sincere gratitude to Professor Alexandra Chocontá Piraquive for her generosity, expertise, and for offering new perspectives on research in these areas. I will always be grateful for having met her, and I truly believe that the opportunity to explore this topic could not have come under the guidance of anyone else but Professor Alexandra. In fact, it seems almost cosmic in its timing. My best wishes for continued success.

I also extend my thanks to Professor Marta Cabrera Ardila for her creativity in rethinking the world and for demonstrating how this is essential for positioning ourselves within Latin American cultural studies.

This paper critically examines leading feminist philosophical arguments asserting that inegalitarian pornography inherently perpetuates the objectification and silencing of women, thereby warranting moral condemnation or legal restriction. While recognizing the seriousness of these concerns, we argue that neither objection holds, regardless of how objectification or silencing is conceptualized. Central to our position is the distinction between fictional and non-fictional pornography. As fiction, we contend, pornography does not intrinsically validate real-world beliefs or behaviors regarding women's subordination. Even in non-fictional ("documentary") contexts, the purported causal link between pornography and harm remains unsubstantiated. The paper deliberately sets aside ethical concerns about coercion in pornography's production (e.g., exploitation, abuse) to focus on its alleged social effects. By interrogating the assumed mechanisms of influence-whether through fictional representation or documentary realism-we challenge the foundational premises of anti-pornography arguments and advocate for a more nuanced assessment of pornography's role in shaping social norms.

Excessive pornography consumption may distort children's and adolescent's perceptions of relationships, intimacy, and body image, fostering unrealistic expectations that contribute to confusion and dissatisfaction. The normalization of such content can also lead to the reinforcement of gender stereotypes and unhealthy views on sex, which may have long-term psychological consequences. This systematic literature review aimed to identify the impact of internet pornography on children and adolescents. The review attained and identified four themes: Showing Emotional and Behavioral Issues, Lacking Parental Engagement in Digital Literacy and Online Safety for Children and Adolescents, Promoting Unhealthy Sexual Behaviors due to Excessive Porn Consumption, and Addressing the Psychological and Developmental Effects of Internet Pornography. Teaching internet literacy and safe online behaviors in schools is critical, as it prepares learners to navigate the digital world responsibly, identify unsafe content, and make educated media consumption decisions. Encouraging participation in extracurricular activities is also healthier as it fosters friendships, teamwork, and a feeling of purpose. When young people are included and valued within an environment, they are less likely to seek approval from pornography, lowering their dependency on explicit content and improving their emotional well-being.

This thesis explores labiaplasty as a point of inquiry in order to understand how representations of the female body have changed with the transition to global capitalism. Through the analysis of contemporary, mainstream media representations within “body genres”, including pornography and horror films, this thesis explores notions of affect and the production of subjectivities as central modes in contemporary capitalism that signal a new and unique form of biopower whereby representation works to affect subjectivities from which new cultural practices – such as labiaplasty – may emerge. To argue this point, this thesis conducts a discourse analysis from the personal stories told by women seeking labiaplasty on the Internet, in order to examine how representation may influence subjectivities of women to the point of seeking labiaplasty.

El presente trabajo busca realizar un acercamiento histórico y analítico a la obra de Marcelo “El monstruo” Vignera, un realizador amateur de películas pornográficas caseras que tuvieron una difusión limitada a principios de los años 2000. En sus trabajos, creados, editados, producidos y dirigidos por él mismo, proponía una forma completamente novedosa (dentro de lo que era la industria XXX nacional en aquel momento) de producir contenido pornográfico. No solo por su
dinámica de filmación y distribución sino también por la ruptura de estándares de belleza, por la propia temática que atraviesa lo grotesco y lo bizarro, y que propone un formato híbrido entre lo documental y lo pornográfico a nivel estético y narrativo. En el presente también se hará un repaso por los circuitos de difusión, acceso y consumo que han tenido tales trabajos, pensando en la contraposición de estos frente al resto de videos condicionados nacionales que circulaban en aquel momento de manera comercial. Se destacará así la historia oral que han generado y el
séquito de fanáticos que tuvo en su momento de pleno auge, buscando desarrollar de esta manera un trabajo que compile y analice de la forma más completa posible (con las existencias
encontradas) la obra ya incunable de nuestro querido Buttman argentino.

Una de las principales causas de la violencia sexual es el sexismo estructural presente en las sociedades, perpetuándose a través de la pornografía, especialmente entre los jóvenes. Por ello, el objetivo principal de esta investigación es analizar el consumo de pornografía en jóvenes, estudiando sus efectos y su relación con la educación afectivo-sexual. En particular este estudio se realiza con una muestra de 371 estudiantes universitarios del norte de España. Las edades de toda la muestra oscilaban entre los 18 y 28 años (M =20.5; DT = 2.3). De la muestra, el 72% (n = 267) son hombres y un 28% (n= 104) mujeres. Los resultados del estudio muestran que la edad media de inicio en el consumo regular de pornografía es de 13.7 años (min= 7 años y máx=21). En relación a los cursos recibidos sobre educación afectivo-sexual, más de un 80% de la muestra indica no responder a su curiosidad o intereses. Un 53.2% de los hombres y un 32.7% de las mujeres señala que el consumo de esta pornografía afecta a la imagen que se tiene de las mujeres, negativamente. Los resultados en general de este estudio indican que es necesario mejorar la educación afectivo-sexual ya que los consumos cada vez comienzan a edades más tempranas y los jóvenes normalizan su consumo para atender su curiosidad y satisfacer sus necesidades sexuales, entre otras.
Además, a través de la erotización de la violencia que visualizan en la pornografía se legitima socialmente el abuso físico y de poder hacia las mujeres.

Questa relazione esplora la figura di Madame Sitrì, maitresse di una delle più celebri case di tolleranza di Livorno, rinomata per il lusso e l’eleganza, al pari delle grandi maison di Roma e Milano. Attraverso l’analisi di fonti storiche e letterarie, il testo ricostruisce il ruolo della protagonista, donna di cultura e imprenditrice capace, che gestiva il suo bordello con fermezza e diplomazia. La sua storia si inserisce nel più ampio contesto delle case chiuse in Italia, con particolare attenzione alla realtà toscana e livornese, fino alla loro chiusura con la Legge Merlin del 1958. L’indagine evidenzia non solo il funzionamento di questi luoghi e il loro impatto sulla società dell’epoca, ma anche il modo in cui il mito di Madame Sitrì continua a influenzare la memoria collettiva e la cultura popolare livornese, come dimostra la recente nascita della Haus of Sitrì, evento LGBTQIA+ ispirato alla sua figura.

El miedo y la hostilidad hacia el Otro, hacia aquellos experimentados como diferentes y extraños, no son sino una expresión del terror y la rabia que sentimos hacia nosotros mismos, hacia nuestros propios deseos prohibidos, nuestras necesidades insatisfechas, nuestras carencias, faltas y pérdidas irreparables. Desde que nacemos empieza un proceso gradual, creciente, en el que se nos va imponiendo el terror, el rechazo, la desconfianza hacia lo diferente. Es así como experimentamos la diferencia, o más bien la separación entre lo femenino y lo masculino, como desigualdad, como dominación de un sexo sobre el otro. Se impone la necesidad profunda de poder sobre lo que es vivido como amenazante, como extraño, como enemigo para la propia integridad. Se ejerce una cultura del terror como formación de la subjetividad: "La extorsión, el insulto, la amenaza, el coscorrón, la bofetada, la paliza, el azote, el cuarto oscuro, la ducha helada, el ayuno obligatorio, la comida obligatoria, la prohibición de salir, la prohibición de decir lo que se piensa, la prohibición de hacer lo que se siente y la humillación pública, son algunos de los métodos de penitencia y tortura tradicionales en la vida de familia. Para castigo de la desobediencia y escarmiento de la libertad, la tradición familiar perpetúa una cultura del terror que humilla a la mujer, enseña a los hijos a mentir y contagia la peste del miedo. Los derechos humanos tendrían que empezar por casa ..." (Galeano, 1990, pág 129). Históricamente la desigualdad social, las relaciones de poder, en tanto acciones de unos seres humanos sobre otras acciones, sobre otros sujetos actuantes (Foucault, 1988), han constituido una forma de estructuración de las sociedades, que ha traspasado fronteras, épocas y culturas. e1 poder siempre ha ido acompañado de la lucha, contra las fuerzas represivas, la búsqueda de la libertad individual y colectiva. Foucault plantea que existen luchas: "Las que se oponen a las formas de dominación (étnica, social y religiosa); las que denuncian las formas de explotación que separan a 105 individuos de lo que producen; y las que combaten todo aquello que ata al individuo a sí mismo y de este modo lo somete a otros (luchas contra la sujeción, contra formas de subjetividad y de sumisión)". Estos tres tipos de luchas no son independientes entre sí, más bien son enfrentamientos con mecanismos estructurales que coexisten, que se necesitan unos a otros, los mecanismos de explotación necesitan de las formas de dominación y de sujeción para poder funcionar y preservarse, mantienen relaciones complejas que conforman la totalidad social. Las relaciones de poder se ejercen en el nivel de la acción comunicativo 0

Sissy hypno pornography is characterized by the use of erotic hypnosis tropes to induce a process of self-feminization. Accessible across social media and online porn sites, the genre involves the remix of professionally produced pornography with sounds, images and text to induce a state of sexual arousal. Groups promoting anti-porn and anti-transgender views have cited the genre as dangerous to public health, depicting hypnotic entertainment as having the power to alter an individual’s core sense of identity. While much of sissy hypno imagines feminization through humiliation narratives based in forced gender conversion, a growing subgenre of trans-affirming hypno legitimates transfeminine identification. Metapragmatic data taken from video content and sex worker interviews exposes how progressive content producers shield consumers from the genre’s transphobic tropes by creating narratives based in self-realization. The chapter analyzes online pornography as situated within a politics of identity and thus always evolving, even as its critics remain focused on conventional semiotic orders.

While scholars have examined female viewership of pornography, the phenomenon of heterosexual women watching lesbian pornography has received little attention. Drawing on statistical data from pornographic websites, articles of straight women who watch lesbian porn, and analysis of ten pornographic videos in the Lesbian category, this paper identifies five key themes behind the phenomenon: Focusing on women's pleasure; relatability; lack of degradation; authenticity; fantasy and experimentation. I maintain that the consumption of lesbian pornography allows straight women to explore and articulate their desires, constructing their sexual subjectivity and expanding the possibilities for female pleasure and agency. I show how pornography consumption can challenge cultural narratives about female sexuality and pleasure, contributing to a more fluid understanding of sexual identities and desires.

Para além das agendas governamentais conservadoras e de grupos religiosos, o fim da pornografia é visto como necessário também pelo feminismo radical, sob a chave de proteção da mulher, levando em conta que a pornografia reproduz opressões estruturais, como o machismo, o sexismo e a misoginia. Em uma outra postura teórica e prática, o feminismo pró-sexo se consolida como uma reação à censura proposta à pornografia e propõe o desenvolvimento de uma outra pornografia, que considere desejos e corpos marginalizados na posição de sujeitos. A partir das teorizações do feminismo radical e do feminismo pró-sexo, o presente artigo se propõe a fazer um levantamento bibliográfico das principais problematizações desses dois feminismos acerca da pornografia, a fim de assimilar e expor suas principais implicações teóricas e práticas.

O presente trabalho advém das provocações iniciadas em um grupo de estudos autônomo sobre “mulheres revolucionárias”, onde passamos pela discussão sobre pornografias. Os questionamentos afluíram em um trabalho de conclusão de curso, que de maneira geral, trata das contradições em torno da luta pela abolição do trabalho sexual vs. a luta pela regulamentação do mesmo; o desenvolvimento da pesquisa se dá por meio de uma etnografia virtual da página “QGFeminista”, uma
organização feminista radical abolicionista. Durante o processo, evidenciou-se que a maior parte dos pressupostos para a abolição do trabalho sexual vinham de uma noção específica de gênero e de um moralismo acentuado em torno das sexualidades e suas performatividades. Aqui, o objetivo será desenvolver o porquê, mesmo sendo um espaço de reprodução do machismo, da misoginia, da lógica mercadológica e outras opressões, a pornografia sustentada por corpos e sexualidades dissidentes pode ser um terreno potencialmente transgressor.

Para 1955, la Edad de Oro del Cine Argentino había quedado atrás debido, en parte, a la Revolución Libertadora que afectó seriamente la industria cinematográfica nacional. El desfinanciamiento, la falta de normas claras y las listas negras auguraban un futuro sombrío para la producción nacional que luchaba por competir con la producción extranjera.
En este contexto desafiante, un actor experimentado se convertiría en joven cineasta y por medio de una alianza estratégica del dúo Bo-Sarli, se enfrentaría a la censura institucionalizada. Ambos se convirtieron en blancos principales de la censura municipal que, en nombre de la protección de la salud moral de los espectadores y mediante la figura de exhibiciones obscenas, comenzaron a restringir películas en sus áreas de influencia, aplicando sus propios criterios bajo las direcciones de Espectáculos Públicos.
En el caso de San Juan, la censura estaba institucionalizada a través de un órgano municipal compuesto por representantes de asociaciones de padres de familia. Estos grupos revisaban las películas y proponían restricciones a la Municipalidad de la Ciudad de San Juan que las reglamenta en consecuencia.
Este trabajo analiza el caso de censura de las películas de Isabel Sarli en la ciudad de San Juan por parte de la municipalidad, por causales de obscenidad e inmoralidad, en un contraste con la figura típica de exhibiciones obscenas presentada en nuestro Código Penal. De esta manera, se busca comprender la censura a nivel municipal, el papel de los Consejos de Moralidad en los municipios y los patrones comunes en estos casos

This article explores the mediations of print and photography in an emergent sexual culture in 20th century Bengal. In particular, I examine how Kolkata based Bengali sex magazines such as 'Nara-Nari' and 'Natun Jiban' negotiated between this emergent erotics and the censorial tendencies of the colonial state through a series of discourses around the body, specially those of male bodybuilders and female nude art models. In doing so, I locate the visual form and erotics of what has now come to be called the 'blue-photo'.

Porn has been a large part of internet activities. Yet while major porn websites produce and store immense amount of mainstream porn, non- heteronormative alternatives exist in much more decentralised and precarious spaces. In particular, on Tumblr, many queer sexual contents were created and shared, facilitating the formation of an active digital community of queer counter-publics, made possible by the niche features of the microblogging platform. In December 2018, after a decade since its launch, Tumblr issued an algorithmic clean-up for adult or "not safe for work (NSFW)" content. Gone with the queer porn archive were the community connections and (creative) exchanges. While there has been a surge of scholarships on Tumblr, much of the focus has been on its active era, less on what might happen after the content ban from a perspective of digital sustainability. This poster is our attempt to contribute to this area.
With the concept of "networks," we analyse the intertwined relations between the Tumblr platform, queer sexual content, and the user communities. With the example of Korean queer porn on Tumblr, we illustrate the complexities within the experience and discourses on the platform. And, finally, through the "imaginaries," we aim to transcend conventional approaches of digital post-preservation such as relocation or resuscitation. While a once-living archive is dead, the lost communities can potentially be preserved and revived in new ways.