Peter Tupper

Jul 272011
 

Nude woman bound to tree, nude man standing nearby, black and white

Back in 2004, German novelist Thor Kunkel claimed that he had discovered a secret chapter in the secrets-filled history of pornography: porn produced in Nazi Germany. From UK newspaper The Guardian:

Before submitting his manuscript to his publisher last summer, Kunkel had researched long and hard into one of the most subterranean aspects of the Nazi era – a series of erotic home movies known as the Sachsenwald films, shot secretly in 1941. Officially, pornography was forbidden under the Nazis; in reality, however, the films were not only screened privately for the amusement of senior Nazi figures, but were also traded in north Africa for insect repellent and other commodities.

Kunkel discovered two of the black and white films – the pastoral Desire in the Woods and The Trapper. In one of them, a man ties a naked woman to a tree. Incredibly, Kunkel tracked down the actress some 60 years after her woodland nude scene, living in an old people’s home outside Hamburg. “I found her via a photographer who had known her since she was 14, when she posed for nude photographs,” Kunkel says.

The 83-year-old was slightly taken aback by the novelist’s visit, but agreed to help. She could recall only two “polite, charming men” who approached her outside a tobacconist’s kiosk in Berlin. The men had driven her and her sister in a black Opel Admiral – the saloon car favoured by the Gestapo – to the woods outside Hamburg. There she had disrobed.

“She told me she and her sister had had a threesome with a man. I found this a bit surprising,” Kunkel says. The novelist never did discover who the director of the film was, but he used the movies as the framework for his 622-page manuscript, which his publisher, Rowohlt, had originally lauded as a “packed, minutely researched portrait of morbid Nazi society … and the demise of the Third Reich.”

Kunkel also interviewed 57 elderly German soldiers who had served with Erwin Rommel in north Africa, where much of the novel is set. They confirmed what he already suspected – that during the second world war, the German military traded Nazi pornography with the locals. The Sachsenwald films even ended up in the hands of the Bey of Tunis, a regent with a legendary collection of pornography. “It was the thing the locals were most interested in. In return, the soldiers got food, water and supplies,” Kunkel says.

There seems to be very little about these films, at least in English, and this whole thing might turn out to be a fabrication or exaggeration.

Jul 272011
 

Book cover. Man wearing officer's cap embracing nude woman, in leather harness, from behind. Title is Captured by the SS

Sylvia Plath wrote that “Every woman loves a fascist” and the Nazi can function as the absolute extreme of the “bad boy”.

A book published by Ellora’s Cave under the Taboo line, Captured by the SS by Gail Starbright, goes deep into this fantasy. From the description:

By the twenty-first century, Germany has all but taken over the world. Only one nation remains untouched…America. Only spies slip in and out of enemy territory. Within this shadowy and dangerous world of cloak and dagger, Isabel Riley is an American spy deep in enemy territory.

Isabel is detained at a German checkpoint by a black-uniformed SS officer. She’s arrested, taken into custody and interrogated.

But she soon learns her enigmatic captor wants more than just her secrets. He enjoys tying her up or teasing her with the tails of his leather flogger. But floggers and video cameras are the least of her concerns. In the eyes of the Third Reich, ownership is real. And a lovely American spy is far too tempting of a war prize to pass up.

Although I haven’t read the book, my response to the description was “Um…”

Continue reading »

Jul 252011
 

I’m not sure if the original Swedish title, I am curious (yellow), has the same double meaning as it does in English. I.e. the protagonist, a young Swedish woman named Lena, is both inquisitive, and an enigma herself.

I have a strong suspicion that a lot of people attending this movie in the USA were hoping to see some skin and were probably disappointed and confused.

Continue reading »

Jul 252011
 

In a previous post I touched on the difference between fantasizing about a person being in peril of violence and a person actually suffering violence.

This clip above is the 1954 BBC television adaptation of George Orwell’s classic dystopian novel Nineteen Eighty-four.

In the book, Winston is shown the rat cage device, strapped down and then the device is placed on his face. Only then does he crack.

In this production, they don’t even put the device on Winston’s head. O’Brien merely shows the device to Winston and describes how it operates, and this is enough to make Winston crack and say, “Do it to Julia!”

Continue reading »

Jul 212011
 

Here’s an interesting paper on the results of a survey of people’s subjective experience to pornography. The researcher assembled about 70 porn images and asked people to comment on how they responded to the images and what they fantasized about in response to the images. (I participated.)

In an argument loosely based on Mulvey’s concept of the male gaze, it has long been assumed that the subjective experience of pornography involved either the viewer’s sexual domination of the subject, or else the viewer adopting a like surrogate for the same end. In fact, these modes of encountering pornography appear to account for slightly less than one-third of responses to this survey. Even if we look only at responses in which the viewer is present in their narrative of the image, these simple modes account for only 63% of all responses. More surprisingly, from the traditional viewpoint, there is almost no difference in that rate by gender.

The takeaway is that, instead of a simple “male gaze”, people had a highly complicated and variable way of relating to images. Sometimes they are omniscient observers, sometimes they insert themselves into the image, sometimes they take the position of one of the people in the image. People spun elaborate scenarios about the action and experiences of the people in the image, based on the tiniest of cues in the image or the absence of details.

This suggests that people don’t take the pornographic image “straight”: they add a huge amount to the experience from their own imaginations and memories. When we read text, we complete the experience with our own minds, but it may be that we do when we see images, and that no two people see precisely the same image. People have active imaginations (not only sexual) and we cannot attribute the content of their fantasies solely to their media intake.

Anti-porn theorists generally posit that pornographic images encourage or foster imitative behaviour in the viewer, but this study suggests that it’s a lot more complicated. The viewer may select a woman who is injured or bound in order to fantasize about rescuing or healing her.

Another interesting point is the difference between putting a fantasy character in a “peril” situation, in which something bad is threatening but hasn’t happened yet and from which they could be saved, and outright violence or snuff scenarios.

This might have something to do with the hurt/comfort trope in slash fanfiction, in which one character in the story is physically or mentally injured and the other heals or tends to the first, creating an opportunity for physical/emotional intimacy. (Of course, this could also be read as an opportunity to indulge in latent sadism, displaced onto another character.) In the film of The Sheik, the Valentino character starts out masterfully masculine, but the emotional climax of the film comes when he is injured and prostrate before his female love interest.

This ties into Freud’s essay “A Child is Being Beaten”, which talks about the mobility of the fantasizer’s point of view in flagellation fantasy, and Anna Freud’s essay on fantasies in which they are constantly re-edited by the fantasizer. (More on this later.)

Jul 162011
 

Angela Caperton’s blog pointed me towards several Youtube clips from the documentary, Stalags (2008), about the Israeli stalag novels:

The Introduction

A discussion of the standard plot

A professor talks about his schooldays, when Stalag novels were circulated as porn, while the works of Ka Tzetnik 135633 treated the same subject matter but legitimately.

A publisher talks about the premise of the books, in which a “pinnacle of manhood”, American pilots, are dominated by women.

An interview with present-day Israeli who talks about his fantasies when having sex with a gentile German woman.

Interview with filmmaker Ari Libsker

I think this is an example of fantasy as a reparative/redemptive rewriting of an earlier experience, either first hand or indirect. Definitely gotta see this one.

More on Ka Tzetnik 135633 in a future post.

Jul 142011
 

Cover of 'Awful Disclosures of Maria Monk', showing nude woman praying and monk about to beat her with whip

Anti-Catholicism has always been the pornography of the Puritan. Whereas the anti-Masons had envisaged drinking bouts and had entertained themselves with sado-masochistic fantasies about the actual enforcement of grisly Masonic oaths,* the anti-Catholics invented an immense lore about libertine priests, the confessional as an opportunity for seduction, licentious convents and monasteries. Probably the most widely read contemporary book in the United States before Uncle Tom’s Cabin was a work supposedly written by one Maria Monk, entitled Awful Disclosures, which appeared in 1836. The author, who purported to have escaped from the Hotel Dieu nunnery in Montreal after five years there as novice and nun, reported her convent life in elaborate and circumstantial detail. She reported having been told by the Mother Superior that she must “obey the priests in all things”; to her “utter astonishment and horror,” she soon found what the nature of such obedience was. Infants born of convent liaisons were baptized and then killed, she said, so that they might ascend at once to heaven. Her book, hotly attacked and defended , continued to be read and believed even after her mother gave testimony that Maria had been somewhat addled ever since childhood after she had rammed a pencil into her head. Maria died in prison in 1849, after having been arrested in a brothel as a pickpocket.

Richard Hofstadter, The Paranoid Style in American Politics

Brian Busby also has some posts on Maria Monk, alleged author of the anti-Catholic classic Awful Disclosures of Maria Monk, calling it “the best-selling work of fiction ever set in Montreal”. More likely it was written by American anti-Catholics who knew how to appeal to a nation steeped in Gothic/sentimental literature.

This book used common Gothic tropes: virtue in distress, murdered children, imprisonment, underground passages and chambers, arbitrary authority, cruelty and claustrophobia. It didn’t stint on describing and depicting the abuse of the nuns:

Most 19th century editions feature the same 38 engravings, all depicting characters and scenes in the book. There is, for example, the ‘inhuman priest’ Bonin in action pose. According to the book, it is he who, with an undisclosed number of nuns, trampled Sister St. Frances to death. Many of the images feature tormented nuns, women who have endured rape and torture, such as the ‘melancholy’ Sister St. Martin and ‘Mad Jane Ray’. In the illustration below we see Maria herself, recovering from ‘the cap’, an instrument of punishment described as ‘small, made of a reddish looking leather, fitted closely to the head, and fastened under the chin with a kind of buckle.’ The reader is told that it was ‘common practice to tie the nun’s hands behind, and gag her before the cap was put on, to prevent noise and resistance.’

Bondage, flogging, branding… it’s no wonder that the ‘awful disclosures’ found readers amongst those attracted to the works of Sacher-Masoch, Sade and Mirbeau. Indeed, the book has at times been packaged to attract just such an audience.

The book had a long life, with many legitimate and pirated editions. More than a century later, Monk’s book was still being used, turning up in leaflets opposing John F. Kennedy’s US presidential campaign. It still turns up cited on anti-Catholic kook websites.

Has this particularly anti-Catholic brand of pornography been rendered obsolete as fantasy material by the assimilation of Catholics in North American society, the diminishing power of the Catholic church and the general secularization of society? A cursory search of Imagefap revealed a fair number of “nun” galleries, and searching for “nun” on Literotica produced one page of stories, so perhaps this particular kink still has some life in it.

Uncle Tom’s Cabin and Awful Disclosures bear a lot of similarities: highly political works which used the language of Gothic sentiment to make their point and involved audiences who might not have been involved in other discourses. One was progressive and humanitarian, the other was xenophobic and bigoted. One was inspired by truth, the other by paranoid fantasy. It indicates just how powerful a discourse this is.

Jul 142011
 

Brian Busby’s tour of the seamy side of Canlit brings us to the work of Danny Halperin, who wrote under the name of Neil Perrin.

This was Joanna (1949) begins like Twin Peaks: a beautiful woman, Joanna, is found murdered in water. One of her beaus delves into her life and turns up a sexually dysfunctional husband and a kinky lover:

On the walls of the room were hung all sorts of gadgets of torture; long needles, small, hairy whips, knouts, knives sharp as razors, silken threads of unbelievable length. Over the mantlepiece were afixed two large peacock feathers; the end of one was a rubber stopper, the end of the other a handgrip. I dared not ask the significance of these feathers for fear of being told.

Suspended from the ceiling were two long cords, obviously used to hold a person up from the floor by his (or her) thumbs. On the floor, as if alive, lay the stuffed corpse of a sinuous cobra. The most unspeakably evil paintings adorned the walls and, in one corner of the room under a blue light, sat the grinning statue of Priapus, the phallic symbol of the ages.

Another Perrin work was The Door Between (1950), about a damaged WWII vet who stalks the vamp who lives in the next room in his boarding house.

From another post:

Moving past the well-scrubbed, antiseptic couch romps shared by Bruce and Sheila we find relationships in which sex and violence are invariably entwined.

The first glimpse we’re given comes courtesy of Clara, Bruce’s downstairs neighbour, who gets off on being knocked around by her husband. The morning after Bruce’s arrival, the nightgown-wearing battered wife corners Bruce in the rooming house hallway, teasing: “Bet you’d like to beat the hell out of me, wouldn’t you?”

Jump to Vera, who shares a loveless sex life with Jake, one of the three men in her fawning entourage. “It is zee glandular love”, she sighs. “I suppose it will have to do until zee real love comes along. Some day he vill come to me, zee lover I need. He vill be strong and filty; he vill beat me and kiss me and feel everything – everything!” When one of her lapdogs dares describe her as a masochist, she responds: “I am not to be labelled. You can say I am zee masochist, I am zee sadist, I am zee pervert – anything that pleases you. But all I really am is zee voman. How do you explain zat?”

This novel ends with the hero beating the bad girl in a jealous rage, right in front of the good girl, who persuades him to stop so they can go get married. Charming.

As to viewing this a piece of BDSM history, there’s certainly a lot of sadism and masochism in The Door Between, but it appears to lack the formalism of the interaction that characterizes the dungeon in This Was Joanna. I’d categorized them more as “rough sex” stories than BDSM fiction.

Jul 132011
 

Brian Busby’s blog is proving to be a cornucopia of Canadian literary BDSM history.

His posts on Dianne Bataille’s The Whip Angels (1968), and the author herself, married to George Bataille.

Science fiction writer AE van Vogt wrote The House that Stood Still (1952):

Nine men and four women were standing in various tensed positions. One of the women, an amazingly good-looking blonde, had been stripped to the waist; her ankles and wrists were tied with thin ropes to the chair in which she sat sideways. There were bloody welts on her tanned back, and a whip lay on the floor.

Jul 132011
 

Speaking of Canadian’s with a kinky attitude towards sex, check out this trailer for director David Cronenberg’s next feature, a film about the relationship between Sigmund Freud and Karl Jung and their masochistic female patient, featuring a fair bit of costume drama and kink.

Cronenberg’s had an interesting career trajectory. His early films, such as Shivers (aphrodisiac parasites spread through a Montreal apartment complex) and The Brood (people start externalizing their psychologies through literal bodily transformations), were far more experimental and visceral and political, in the best traditions of 1970s horror films.

Over the decades, he’s become a lot more respectable. He complains in interviews that he is still listed in IMDB as “Dave ‘Deprave’ Cronenberg”. While I still consider myself a Cronenberg fan, and I respect his career decisions, I also feel that his latest films just aren’t as gripping as his earlier works. If I wanted to sell people on the idea that Cronenberg is a great director, I’d show them Dead Ringers or Crash, not Spider or Eastern Promises.

You can see the same concerns in his latter works like Eastern Promises or A History of Violence as in his middle period The Fly: a man struggling against his transformation into a monster. I still maintain The Fly is the superior work.

My hope is that this story will allow Cronenberg to loosen up a little and not understate his themes.