maledom – Page 2 – The History of BDSM

Mercy (2000): The Celluloid Dungeon

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 S11E19 “Unleashed”: The Celluloid Dungeon

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Apr 292022

Aired April 7, 2011 IMDB

“Unleashed” is the first Lady Heather episode without William Peterson as Gil Grissom, after the actor’s departure from the show. It also retreads some of the same ground as the notorious “Fur and Loathing in Las Vegas” episode (to be discussed).

This time, the dead body is a woman in a leotard who got mauled to death by a mountain lion in the woods. The woman shows signs of having been beaten and restrained.

Further examination reveals feline dental prosthetics and signs of being hit by a stun gun. ID’d as Iona Vail, who ran a battered women’s shelter. The co-manager of the shelter, Debra, says Iona left weeks ago.

Examining the victim’s address book reveals she was seeing “Dr. K”, which turns out to be Dr. Heather Kessler, formerly “Lady Heather”. She now has a PhD, a certificate in sex therapy, and an office that shows her taste for Victorian furnishings.

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.

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.

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?

The Story of Joanna (1975): The Celluloid Dungeon

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Oct 152021

The Story of Joanna (IMDB) is a 1975 X-rated drama directed and written by Gerard Damiano and starring Terri Hall in the title role and Jamie Gillis as Jason.

Joanna comes from the “Golden Age of porn” in the 70s and early 80s when some hardcore adult films were made with higher production values for release with X-ratings in mainstream theatres, trying to reach a broader audience. This was also the heyday of mainstream softcore erotica films like Just Jaeckin’s Histoire D’O (1975) and the original Emmanuelle (1974), and edgier material like Nazisploitation classics The Night Porter (1974), Ilsa: She-Wolf of the SS (1975) and Salon Kitty (1976). (I’ve heard that Damiano wanted to film Story of O but couldn’t get the rights, and made his own knock-off.)

Bitter Moon (1992): The Celluloid Dungeon

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Sep 182021

Mimi (Emmanuelle Seigner) meets Nigel (Hugh Grant) in the company of her husband Oscar (Peter Coyote)

Bitter Moon (IMDB) is a 1992 erotic/romance film, directed by the notorious Roman Polanski, based on the novel Lunes de Fiel by Pascal Bruckner

Nigel goes on an ocean cruise with his wife, Fiona, where he becomes fascinated by a beautiful, mysterious woman named Mimi. Her husband, a paraplegic would-be writer named Oscar, demands that Nigel listen to his story of his obsessive love with Mimi before Nigel has an affair with her. Like another tale of twisted love, Nabokov’s Lolita, we shouldn’t take the narrator at face value. Mimi privately tells Nigel: “You musn’t believe all he says. He’s a sick man. He imagines things.”

In Oscar’s story, he is a self-consciously literary archetype, an independently wealthy young American living in Paris to become a writer. On a bus trip, he becomes smitten with Mimi, a young French woman.

Mimi is a cipher, with almost nothing more to her than being a beautiful French dancer, at least in Oscar’s telling. The early stages of their romance go from sweetly romantic to an adolescent’s idea of eroticism.

Oscar: (to Nigel) “I’m only going into such detail to show you how completely enslaved I was, body and soul, by this creature whose dangerous charms have made such an impression on you.”