vorträge

Wir haben KünstlerInnen und TheoretikerInnen eingeladen, Vorträge zum Thema Pornographie auf dem 1. PORNfilmfestivalBERLIN zu halten:

19.10., 20:00, Kant-Kino 5, Eintritt 6 Euro, Language of Lecture: English:
Ingrid Maria Ryberg: A Critique of the Notion of Authenticity in Lesbian Pornography

The paper is a critical discussion of the notion of authenticity in regard to lesbian pornography. By discussing the Swedish short Selma & Sofie (Mia Engberg) - a film that attracted much attention when released in 2002 - in particular, I point out some paradoxes that this notion entails. How can staged enacted sexual performances in front of a camera claim to be authentic?
Selma & Sofie together with the behind the scenes documentary Bitch & Butch (Engberg, 2002) is just one example of how the term "authentic" is manifest in almost all lesbian porn film production and distribution. The notion is a way of separating and qualifying some representations of lesbian sex from what is seen as fake lesbian sex numbers in straight mainstream pornography. However the premises that the term is constructed on are highly problematic, making assumptions about what true lesbianism is and about the possibility to cinematographically represent reality and visually prove sexual pleasure.
I demonstrate how the notion is serving too many purposes, without proposing fruitful solutions. It gives an unsatisfactory answer to the posed problem of fake lesbian sex as foreplay in mainstream pornography. In the end all it seems to do is to reaffirm normative ideas about what lesbian sex is, and to get stuck with questions of positive or negative stereotypes in identity politics.
The paper is a call for a more complex discussion and new ways of conceptualizing both what is problematic and what potential solutions there are to the question of how to represent lesbian sexual pleasure.

Biographie

Ingrid Ryberg is a Ph.D. student and teacher at the Department of Cinema Studies at the University of Stockholm. Her research project is about lesbian pornography. She also works as a freelance writer and tv-feature producer for various Swedish National Television cultural and arts programs. She is the producer and director of the 50 minutes long cultural documentary "Dragkingdom of Sweden" (2002), and of a 30 minutes long educational film about gender power relations and techniques of dominance, "Var fick du luft ifrån?" (2005).

20.10., 20:00, Kant-Kino 5, Eintritt 6 Euro, Language of Lecture: English
Maxime Cervulle - Postcolonial Pornography: "Beurs" Boys in the Hood on Camera

Visibility, both a central concern of Western gay identity politics and of pornography (remember the famous phrase borrowed to Jean-Louis Comolli by Linda Williams, defining pornography as a "frenzy of the visible") works along asymmetrical lines through the array of race, ethnicity, class, gender or sexuality. As some racial minorities - mainly "beurs" men - become increasingly represented in French gay culture and especially in pornography, we might ask: how does this visibility operate and what drama of power (of representing) and pleasure (of viewing) is being enacted within such representations?
The French porn film studio Citébeur and its website ("the gay Arab and rascal website" ) rapidly became, within the last 5 years, the no. 1 top seller in gay pornography across Europe. What became known as "ethnic gay porn", and which is widely popularized today in France by the films of such diverse companies as Citébeur, Jean-Noël René-Clair, Dargos or Studio Replay, both refers to and rewrites the more explicitly colonial fantasies of earlier "classic" porn films such as Jean-Daniel Cadinot's Harem (1984). If at first sight gay porno-tropes seem to have shifted from Harem' sexual tourism to Citébeur's eroticism of the poor peripheral housing estates, the ghostly presence of what can only be referred to as a 'pornographic orientalism' remains. These films still tend to produce the erotic out of the exotic. They may be positing the erotic Other as geographically distant or close and culturally distant or close, but it appears that anyhow they heavily rely on
1) cultural appropriation; 2) bodily stereotyping of race, ethnicity, class, sexuality and gender; and 3) an invisible white gaze structuring the diegesis.
We will discuss, in this presentation, the politics of the representation of contemporary French "ethnic gay porn" in respect to the articulation of identity, race, ethnicity, class, sexuality and gender each film performs. Comparing between Citébeur's Wesh Cousin saga, René-Clair' Studio Beurs, and Cadinot's Nomades trilogy, we will be able to set apart the films that might empower French gay "beurs" men from those that subject them to an objectifying (post)colonial white gaze.

21.10., 16:00, Galerie Tristesse Deluxe, Eintritt 4 Euro, Vortragssprache: Deutsch / Language of Lecture: German
Manuela Kay - How to make lesbian porn

Lesben Pornos - schön gesehen, gut gekommen und leicht gemacht!
Pornoexpertin Manuela Kay zeigt Ausschnitte aus lesbischen Porno-Videos aus dem Home-Entertainment-Bereich und plaudert darüber, wie man solche produziert und genüsslich anschaut. Anhand vieler Filmausschnitte aus europäischen und nordamerikanischen Pornos wird gezeigt, worauf es ankommt: Authentizität, Schauspielkunst, Humor und nicht zuletzt den Scharfmach-Faktor. Um als geneigtes Publikum dabei zu sein, braucht man keine persönlichen Erfahrungen in der Porno-Industrie zu haben. Es reicht, wenn man die Filme genießen kann, ohne dabei zu erröten. Alle Fragen dürfen gestellt werden!

Manuela Kay ist Journalistin aus Berlin, Chefredakteurin des Lesbenmagazins L-MAG (vormals des Magazins Siegessäule), Buchautorin ("Schöner kommen", "Out im Kino") und machte 1994 den ersten deutschen Lesbenporno "Airport" aus dem ebenfalls Ausschnitte gezeigt werden.

21.10., 20:00, Kant-Kino 5, Eintritt 6 Euro, Language of Lecture: English
Porno Adorno - F*ck Like the F*cking Blacks
A Performative Workshop
with Vaginal Davis, Prinzessin Von Ho! henzollern

I think as I please and this gives me pleasure my conscience decrees this right I must treasure my thoughts will not cater To duke or dictator, No man can deny-Die Gedanken sind frei

General Course Description:

This coursework by the gifted, international teacher Vaginal Davis is designed specifically for cosmopolitan whites looking to explore and bring out their inner dinge. And for assimilationist blacks ready to re-connect with their Mandingo/Mandinga jungle realness.

*Dinge literally means dirty, dark soiled or black, but it is also an olde school derogatory gay term for black people. It refers to whites who are only sexually excited by blacks, and nothing else will provide them sexual solace.
Whites who only desire blacks are called Dinge Queens.

We will review relevant films like Mandingo(Richard Fleischer, 1975) experimental classics like Sweet Sweetback(Melvin Van Peebles, 1971)comedic Blaxploitation legend Rudy Ray Moore and his Dolemite, 1975 and Peter Wheats traw, 1977 fare, to Fassbinders Whitey(1970) the Quebecois failure, Comment faire l'amour avec un négre sans se fatiguer [How To Make Love to a Negro and Not Get Tired] (Jacques W. Benoit, 1989)and the gonzo black porn of Hyphy studkin Brian Pumper, plus concentrate on the newest urban Hip-Hop subculture phenomena of Hyphy as it relates to black sensuality and a plethora of interactive activities and aktionist niggeradarie under the headings of Dialectica of Enlightenmentos, Hyphosophy of Moderna Muzica, Authoritarian Personalitikus, and Minimata.

Your Moralityus, Not Mine Sweetie.

Glossary of Terms:

Hyphy-youthful rebellion regional pride/politikal empowerment and hustler ambition, drug abuse and boogie down bliss in sexual stance. Hyphy unites all young people of various races and creeds as "one nation under a groove". Hyphy comes from hyperactive and fly another slang honorific that means coolest of the cool sideshows- an impromptu, illegal block party/car rally that is the cornerstones of hyphy culture hyphy drugs- ecstacy, industrial strenght marijuana and codeine laced cough syrup,swigging bottles of Cognac The Hyphy movement leaders: pimp MC Too Short of Oakland and, e40's hypnotic bass heavy sound "Tell Me When to Go" East Bay legend Tupac Shakur turf dancing-frenetic street.

Kabuki something like punk rock moshing with break dancing and martial arts moves mixed in.

Ghost riding the whip - the automotive equivalent of running with the bulls in Pamplona. dangerous maneuver in which a driver hops outside a car while it is inching forward in traffic to dance or walk alongside, feigning the appearance that the vehicle is driving itself.

Breezey - an attractive woman, flambostulatin-acting out in an ostentatious way gas, break, dip(alt.yoking) a lurching vehicular form of break dancing in which the driver alternately accelerates and slams on the brake, making the car dip and shake getting dumb(alt going dumb) losing oneself in the moment through ecstatic, highly athletic movement-usually dancing or driving, indusing sexual euphoria.

Getting stewie-synonym for "getting dumb" derived from Stewie Griffin, the infant protagonist on the animated American TV series "Family Guy" Getting Stewie is a peak of being.

Purp - a potent strain of marijuana know for its purplish color.

Riding the Yellow School Bus: Synonym for "getting dumb" derived from the bus service for children with special needs.

Scraper - a dilapidated car outfitted with a loud stereo system, flashy hubcaps and oversized tires that scrape against the wheel cowls

Stunna shades (alt. Crooners or tycooner shades) cartoonishly oversized glasses

Thizz - The club drug X

Thizz Face - an unattractive grimace caused by taking too much X

town - abbreviation for oakland derived from its mid 80s nickname Oaktown the city of dope

Yadadamean: do you know what I mean?

* Films and blue movies shown will depend on availability

We are all lost; only when we confess this do we find ourselves and really live - Ortega y Gasset

www.vaginaldavis.com

Vaginal Davis is an originator of the homo-core punk movement and a gender-queer art-music icon. Her concept bands - including Pedro Muriel and Esther, Cholita! The Female Menudo, black fag, and the Afro Sisters - have left an indelible mark on the development of underground music. Like Ron Athey, Ms Davis made her name in LA's club performance scene, and has earned herself a similar notoriety as a cultural antagonist and erotic provocateur. Set apart from gallery-centered art, and Hollywood movies, and from those systems' necessities of high-polish, low-substance production, Vaginal Davis's low-budget - often no-budget - performance, experimental film and video practice has critiqued exclusionary conceits from the outside. Davis has been a prolific producer of club performance, video and Xerox-produced Zines, and other forms of antagonistic low-cost, high-impact work. Such as in her drag reconstruction of Vanessa Beecroft's Navy SEALs performance, Ms Davis derails collector-friendly raciness in spectacles of femininity, queerness and blackness. She critiques both the gallery system and the larger cultural trend that it mirrors, with tongue-in-cheek self-exploitation and rude provocations of racial and gender confusion.?Vaginal Davis is the key proponent of the disruptive performance aesthetic known as terrorist drag. Disrupting the cultural assimilation of gay-oriented and corporate-friendly drag, she positions herself at an uncomfortable tangent to the conservative politics of gay culture, mining its contradictory impulses to interrupt the entrenchment of its assimilatory strategies. A self-labeled "sexual repulsive," Ms Davis consistently refuses to ease conservative tactics within gay and black politics, employing punk music, invented biography, insults, self-mockery, and repeated incitements to group sexual revolt - all to hilarious and devastating effect. Her body a car-crash of excessive significations, Vaginal Davis stages a clash of identifications within and against both heterosexual and queer cultures, and Black and Hispanic identities. From bubblegum songstress Graziela Grejalva to aging deviant John Dean Egg III, Davis's personas reject the internal counter-cultural mandate to refuse self-criticism, instead problematising the functions and assumptions of normative trends within the margins. By renewing uncertainties within alternative cultures and identities, Vaginal Davis opens up spaces for their continual struggle towards renewed and greater challenges, over and against these practices' timid appeasement and appropriation by the mainstream. (Dominic Johnson, Frieze Magazine)

22.10., 16:00, Galerie Tristesse Deluxe, Eintritt 4 Euro, Vortragssprache: Deutsch / Language of Lecture: German
Laura Méritt - PorYes - feministische Pornos?

Was zeichnet Frauenpornos aus und wie wollen Frauen wirklich sehen und gesehen werden? In der Frauenbewegung gab es schon immer einen Flügel, der sich freudenaktivistisch für weibliche Pornografie eingesetzt hat, aber der PorNo-Aufmerksamkeit entbehrte. In diesem Workshop wird ein Überblick über die PorYes-Bewegung und ihre Auswirkungen bis heute gegeben. Filmausschnitte und Diskussion mit Sexpertin Laura Méritt, Betreiberin von Sexclusivitaeten in Berlin.

Anmeldungen bitte unter org@pornfilmfestivalberlin.de