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Travels in Pornland | Andrea Stuart | Granta Magazine
Despite feminist porn’s influence on the media, art world and academia it has never been a financially viable undertaking; not least because women are not interested in buying porn in large quantities. The free products available on sites like Porn Hub are a disincentive, too, to pay for porn of any variety. And so the huge and thriving alternative porn product that the San Franciscans dreamt of generating simply has not come to pass. Piracy, too, which is rife online, has had a hand in undercutting the monetary stream that should fill the coffers of feminist pornographers. A sign of the industry’s stagnation is the fate of the Feminist Porn Award designed to recognize the talent of the sector – it has not been put on for a few years now. A number of notable feminist porn producers, too, who once aspired to make a living in this milieu, have moved on to other professions.

The great black feminist poet Audre Lorde once wrote that ‘the masters tools will never dismantle the master’s house’. But feminist porn director Shine Houston countered this by saying: ‘What I’ve learned in this business is that you absolutely can dismantle the master’s house using the master’s tools.’ Houston’s retort was made in the hopeful days of the San Franciscan feminist porn scene, when practitioners believed that they could establish a thriving feminist porn industry. But this has not proved to be the case. The master’s tools have not dismantled the master’s house. And the dominion of the mainstream porn industry is unassailed.

 
pornography  feminism  women  exploitation  review  SanFrancisco  Granta  2016 
october 2016 by inspiral

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