femsub – Page 2 – The History of BDSM

Preaching to the Perverted (1997):The Celluloid Dungeon

Oct 062022

Preaching to the Perverted (IMDB) is a 1997 romantic comedy written and directed by Stuart Urban, starring Guinevere Turner and Christian Anholt.

Preaching has a lot of similarities to Exit to Eden. Both are romantic comedies that try to present BDSM to the mainstream. Both feature dominant women who are rulers of kinky realms (with female aides de camp) who have difficulty opening up to intimacy until a special man comes along.

Preaching is a superior film in many ways. There’s no extraneous MacGuffin plot grafted on. Exit tried too hard to soft-pedal kink for a mainstream audience, and barely showed anything. This film has lots of different kink activities and more queer content. It at least considers the political realm, as the police and government act against Tanya’s parties.

Tanya Cheex (Guinevere Turner) is a notorious American performance artist who does elaborate stage shows at UK fetish clubs. A tabloid newspaper gets photos of this and editorializes about who will control this American filth. (Like the British need any foreign influence to be kinky.) Conservative Member of Parliament Henry Harding decides to make her a target of a moralistic crusade, and recruits a young Christian computer tech, Peter Emery (Christian Anholt) to infiltrate the fetish underworld with a hidden camera.

Peter and TammyJo discuss The Duke of Burgundy (2014): The Celluloid Dungeon

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Aug 182022

My friend TammyJo Eckhart and I go in-depth on the 2014 film The Duke of Burgundy, including topping from the bottom, shapewear, and what’s with all the mannequins.

Mercy (2000): The Celluloid Dungeon

Celluloid Dungeon 1 Response »

Jun 212022

Palmer and Vickie get to know each other

Mercy (2000) (IMDB) is a late entry in the erotic thriller genre that dominated in the 80s and 90s. This kind of movie was getting stale by the turn of the millennium, and many scenes seem strongly reminiscent of Body Double (previously discussed) and Se7en.

It starts, as usual for this kind of film, with a dead body. This time it’s a nude woman, one of a series with signs of being tied up, bite marks all over her torso, and her eyelids cut off. Detective Catherine Palmer (Ellen Barkin) forms a relationship with Vickie (Peta Wilson), a friend (and likely more) of the victim, Dorothy.

Palmer searches the victim’s home and finds a hidden briefcase full of BDSM toys, and pictures of the victim being dominated by a masked man. She calls up a pro dominatrix via Vice and visits her dungeon in an upscale building.

Palmer: “And what’s your area of expertise, Terry?”
Dominatrix: “Japanese silk ropes and the finer psychological aspects of the relationship between the players. I can tie you so you can’t twitch your ass cheeks. Of course it’s time consuming. It’ll cost you a couple of grand. Mostly the businessmen like that.”

CSI S07E23 “The Good, The Bad, And the Dominatrix”

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Apr 152022

“The Good, the Bad and the Dominatrix” Aired May 10, 2007, IMDB

In Lady Heather’s previous appearance, we learn that her deceased daughter Zoe may have had a child. The fourth Lady Heather episode follows up on that plot thread.

This time, Lady Heather meets an unknown person in a Wild West theme park. The man strangles her, and she passes out. The night watchmen finds her unconscious and calls the police.

CSI S03E15 “Lady Heather’s Box”: The Celluloid Dungeon

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Apr 122022

IMDB Aired February 13, 2003

Melinda Clarke returns as Lady Heather. (Also features a cameo of Elizabeth Berkley of Showgirls infamy.) Note that this episode’s story was co-written by Josh Berman, who also wrote the episode of Bones focusing on ponyplay, “Death in the Saddle” (S03E03).

A pair of male sex workers murdered by injections of insulin lead the CSI team back to Lady Heather’s house. It appears they got the same house for interiors and exteriors as the previous episode.

Just as before, Lady Heather is completely cooperative with the authorities, and readily acknowledges the men were on her payroll. It isn’t clear what they did, however. Also, the staff and clients are completely unconcerned with police officers walking around.

Detective Brass astutely points out that these are the second and third people in Lady Heather’s employ to end up dead in suspicious circumstances.

CSI “Slaves of Las Vegas” S02E08: The Celluloid Dungeon

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Apr 042022

IMDB Aired November 15, 2001.

Co-writer Jerry Stahl also wrote the notorious CSI episodes “Fur and Loathing in Las Vegas” (2003) (dealing with furry culture) and “King Baby” (2005) (dealing with infantilism). He also co-wrote the screenplays for the cult porn films Nightdreams (1981) and Café Flesh (1982), under the pseudonym Herbert W. Day.

Melinda Clarke makes her first appearance as Lady Heather. She also played a brothel madam in the Firefly episode “Heart of Gold” (2003) and the body-modified zombie lead of Return of the Living Dead 3 (1993).

As so many of these types of episodes, it begins with the discovery of a dead sex worker. In this case, it’s a nude young woman found buried in a sandbox. Also typical, the victim’s body is treated as a puzzle to be solved that will lead to the discovery of their true identity.

Story of O (1975): The Celluloid Dungeon

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Feb 142022

Story of O (1975), dir. Just Jaeckin

[Note: all English quotes are from the English dub.]

The relaxation of film censorship in the 1960s and 1970s, both in the US and abroad, created an interesting period in mainstream films were much more daring in terms of sexuality and violence, while some porn films had bigger budgets and higher production values to play in mainstream theatres and reach a larger audience. Naturally, someone would try to adapt arguably the most famous novel about BDSM to the big screen, Histoire d’O by “Pauline Reage” (aka Anne Desclos), published 1954.

Transparent S03E02, S03E04 & S03E09

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Jan 112022

Episode S03E02 “When the Battle is Over” Aired 22 Sep 2017

Jiz Lee returns as Pony, having regular domination sessions with Sarah.

Sara struggles with joining the board of her Jewish temple, and says some slut-shaming things about her ex-husband’s Millennial girlfriend. She’s insecure about being a wife and mother with her ex-husband in all ways except sexually.

In session with Pony, Sara is miles away. She’s on a St. Andrew’s cross, in her underwear, being spanked by Pony, rambling about flyers for her temple. Shot of her face in the cross.

Transparent S02E09 & S02E10: The Celluloid Dungeon

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Jan 032022

Transparent Episode S02E09 “Man on the Land”, aired Dec 11, 2015.

In this episode, mainly set at a women’s festival in the woods, Maura, a transwoman, has a difficult experience when she finds that the festival is supposed to be for “women-born-women” only, and her adult daughter Sarah hooks up with a kinky woman named Pony (played by Jiz Lee).

Pony (Jiz Lee) meets with Sarah (Amy Landecker)

Fifty Shades of Black (2016): The Celluloid Dungeon

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Nov 112021

Fifty Shades of Black (2016) (IMDB) is a comedy/romance film directed by Michael Tiddes and written by Marlon Wayans and Rick Alvarez. Obviously, it’s a parody of the wildly popular Fifty Shades of Grey franchise.

Beyond just parodying Fifty Shades, Black derives comedy from juxtaposing sadomasochism, long seen as a “white thing”, with blackness.

Moon Charania’s essay “The Promise of Whiteness: Fifty Shades of Grey as White Racial Archive” in Intensities: The Journal of Cult Media (Issue 8, January 2016) hypothesizes that the book and film’s story can only work because the two leads are extremely white and heterosexual. It presents a kind of hetero-white utopia in which all the cultural anxieties of the 2000s and 2010s are almost entirely absent. Almost no non-white people means no racial violence and inequality, and almost no queer and no trans people means no challenge to the primacy of heterosexuality.

The significance of Grey’s emotional torment, Ana’s romantic attachment to Grey, and the familiarity of white heterosexual domestic love render this (attempted) violent domination both palatable and melancholic. [Pg. 84]

To excite and placate the audience, Ana and Christian as lovers and antagonists could only be white. The sudden excitement found in a powerful white man beating an empowered white woman for sexual pleasure establishes an inextricable link between racial formation and sexual subjectification. [Pg. 85]

In Charania’s view, whiteness excuses everything: Christian’s domination and sadism, Ana’s infatuation and naivete. Remove Christian’s whiteness, his wealth and privilege, from the narrative, and he’s just an abuser. Remove Ana’s whiteness, and she’s just a helpless victim. It’s not a love story anymore.

So what happens if the analogs of Christian Grey and Anastasia Steele, “Christian Black” (Marlon Wayans) and “Hannah Steale” (Kali Hawk), are black?