My impression of Submission didn’t improve with the second episode.
I suppose it was inevitable that, given the prominence of (a version of) BDSM after Fifty Shades and the creative opportunities of the golden age of cable TV, somebody would do a BDSM-themed TV series. To be honest, I went into Showtime’s Submission with low expectations.
Postmortem Studios is working on a tabletop roleplaying game based on the Gor series of fantasy novels by John Norman (a.k.a. philosophy professor John Lange). Published since the 1960s, Gor is a modern version of the Orientalist fantasies of savage lands and slave markets and so on. You can read about their ongoing project on their blog. Gor has a long history of being recreated in Second Life and other online roleplaying environments, so it’s not surprising that someone would try to adapt it to the tabletop, dice-and-paper form of roleplaying.
I learned about this from following the Facebook page of Michael Manning, my favourite (living) fetish/BDSM artist. He’s illustrating the entire book. Manning is primarily known as a fetish/BDSM artist, and it makes sense that he would be tapped for this project. Apart from the standard ferocious monsters, sword-wielding warriors, decadent cities and savage fighting, the books are rife with BDSM imagery. So much so, that there is a fringe subset of the BDSM culture based on the books, Goreans, who borrow the iconography and terminology of the books, such as slave positions and so on. Some of these terms have seeped out into the broader BDSM world.
Gor is notorious for its strong emphasis not only on the world’s apparently universal chattel slavery, but the male-dominant/female-submissive philosophy that justifies it, endlessly reiterated in the books. That’s what made me pause when I thought about Manning illustrating the book. Manning’s work, starting with the graphic novel The Spider Garden, has a strong bi/queer flair, running all over the map of sexuality from conventional, heteronormative pinups to “sacred androgynes”, cross-dressed men, and other, stranger types of sexuality. This also comes in a time when video games and related media like tabletop RPGs are under a lot of flak for #GamerGate. The games designer, James Desborough, reportedly has connections to #GamerGate and some other controversies. It got me wondering: how will Gor be adapted into this medium?
Berlatsky, Noah. 2015. Wonder Woman: bondage and feminism in the Marston/Peter Comics, 1941-1948. New Brunswick, New Jersey : Rutgers University Press
Growing up, I had the notion that Wonder Woman had been created in the past as a perfect feminist icon, and only later was the character sexualized by other creators. In fact, Wonder Woman was “always, already” as much a figure of fetishistic fantasy as she was a feminist role model, patriotic symbol, or heroine for children. The original seven-year run of comics, written or co-written by William Moulton Marston and illustrated by William Peter displayed the kind of deep psychosexual weirdness usually only found in 19th century children’s books. (I say that as a fan of deep psychosexual weirdness.) Noah Berlatsky’s book explores just how queer and feminist those stories were; as the author puts it, “a flamboyantly gendered mess.”[Pg.169]
My apologies for addressing the film adaptation of Fifty Shades of Grey so late. I obtained one copy of the film through admittedly dubious means (let’s just say the text messages are in Spanish), and another in which the subtitles were in originally in, I think, Thai, then covered up by another layer of subtitles in Spanish, and all the explicit sex was cut.
Beyond all that, I could only watch about five minutes at a time. Somebody asked me how I got through the film and I joked, “I kept a fifth of Scotch handy.”
As of this writing, Fifty Shades of Grey holds a 32% rating on Rotten Tomatoes, a 47 on MetaCritic, and a 3.1 on IMDB. Suffice to say, it won’t sweep the Oscars next year. I do predict it will do well at the Golden Raspberries. Its loyal fanbase will probably guarantee a commercially successful opening weekend and a lot of DVD sales, but I suspect it will do poorly in the long run.
I am a little disappointed we won’t see little CGI chibi versions of Dakota Johnson’s subconscious and inner goddess hopping around.
Mileaf, Janine. Please Touch: Dada & Surrealist Objects After The Readymade. Dartmouth College Press, 2010
As I’ve observed before, there’s a relative lacuna in BDSM history, between the Victorians and the post-WWII era. The first half of the 20th century is relatively undocumented, though I have found a few exceptions.
Artist and photographermade several sadomasochistic photos in his career in the 1920s and 1930s. He was also a devotee of the works of the Marquis de Sade, and made portraits of the Marquis. Man Ray was one of many artists of the time interested in “the primitive”, taking inspiration from aboriginal people around the world, and seeking truth through extreme mental and physical states.
Brown, Carolyn E. “Erotic Religious Flagellation and Shakespeare’s Measure for Measure”, English Literary Renaissance, Vol.16, Iss. 1, Dec 1986
Shakespeare’s play Measure for Measure (first performed in 1604) links religious asceticism and flagellation with deviant sexuality and political tyranny. The Duke of Vienna, the judge Angelo and the novice nun Isabella claim to be pious and chaste, while their sexuality is repressed in such a way that it emerges as indifferent voyeurism, aggressive sadism or masochism, respectively. “…by drawing parallels to historical or topical events, Shakespeare suggests that the protagonists’ very asceticism, ironically, causes this deviant desire and that they associate their austere religious practices with pleasurable feelings.”
The plot revolves around a couple, Claudio and Juliet, who have not properly observed all the rules of engagement and marriage. While the Duke travels through Vienna in disguise as a friar, he hands power over to the judge Angelo, who decides to make an example of Claudio and condemn him to death for fornication. Claudio’s friend Lucia asks Isabella, the novice nun and Claudio’s sister, for help. Angelo offers to free Claudio in exchange for sex with Isabella.
The trio of the Duke, Angelo and Isabella are all ascetics (though none are actually clergy), and are hostile to sexual desires, believing that “pain kills the libido and thus subjecting themselves and others to physical abuse.”
Arguably the best known Nazisploitation film (though Love Camp 7 (1969) is usually cited as the first), Ilsa: She Wolf of the SS was a US-Canadian production (and shot on the exterior old sets for Hogan’s Heroes, according to one source). It starred Dyanne Thorne as the titular concentration camp commandant, impeccably crisp in a black, white and red SS uniform.
The women sent to Ils’a camp are divided into two groups. One gets sent to “work details” of serving the men in the guard house. The other gets beaten, electrocuted, boiled, suffocated and more in “experiments” overseen by Ilsa and her female assistants. Ilsa’s ostensible reason for all of this is to demonstrate that women can withstand as much pain as men, and therefore prove that women can serve the Reich by fighting on the front line.
The male prisoners each get one night with Ilsa, after which they’re castrated.
I’m surprised at how much material from AMC’s Mad Men I find for this blog. First there was protagonist Don Draper’s masochistic sessions with a prostitute who slaps his face. Then there was the episode “Mystery Date”, which showed that Don was trying to be faithful to his wife, while a toxic cocktail of lust, fear and rage boiled inside him. Meanwhile, other characters had their own reactions to sexual violence.
And now, in “Man With A Plan”, Don goes full on dominant. Since the season began, he’s been having an affair with his downstairs neighbour Sylvia, the wife of a heart surgeon. While Don’s been lacking in sales meetings, he makes up for it by expertly playing on Sylvia’s Catholic guilt, setting her up for their trysts in the maid’s room.