Eroticism and Technological Regression: The Stag Film

Abstract

It is commonplace to observe that pornography drives the development of media technologies. Examples abound, from the mania for capturing naked bodies that led Charles Baudelaire to complain in 1859 that photography had been coopted, to the story of how American pornographers in 1976 decided that JVC’s VHS would dethrone Sony’s Beta videotape format. It is also common to assume that sexuality is more stimulating when it is most technological, most divorced from ‘nature.’ By severing sex’s connection with reproduction, says Georges Bataille, pornographic representations become more exciting than the real thing. The history of pornographic film, however, suggests that makers of both early stag films and modern videotapes and DVDs are highly ambivalent about the representational technologies they employ. Of the hundreds of stag films made before 1965, only five were shot in sound, and only four were shot in color. Although the whole point of a hard‐core genre would seem to be graphic realism, stags clung to primitive technology. Stag filmmakers deliberately subverted not only realism but also the medium through conscious ineptitude: the performers knocked over light stands, or the cinematographer intruded into the frame, for example, and they did so time and again. By choosing retrograde technology, producers asserted their outlaw status; cultivated amateurishness asserted the authenticity of human sexuality as well. Despite much better equipment, today’s more sophisticated pornographers exhibit similarly ambivalent postures. Complicating matters is the ostensible purpose of such films, which calls for performers to demonstrate techniques for management and control of unleashed desire. On the one hand, the pornographic filmmaker’s conflicted stance points backward to traditional issues of representation faced by any artist determined to depicit sexuality, and on the other, forward to more recent obsessions with hegemonic gazes, gender regimes, and old‐fashioned fetishes. But such contradictions also raise questions about the fundamental relationship of the technological and the erotic. Those questions in turn should give pause to those who are enthralled by pornographic movies and those who are appalled by them. This paper will, so to speak, flesh out the discussion.

Cite this work

No public copy is stored for this record, so only the metadata is cited.

Stored only when both papers are in the corpus — 10 citations exist upstream.

Papers that cite the same references — the relational fallback while embeddings are still backfilling.