PorYes

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Feminist Porn Award logo in the shape of a stylized oyster with pearl

PorYes is an initiative of sex-positive feminists that advocates feminist criteria in pornography and distinguishes outstanding representations of sexuality. PorYes is considered a feminist seal of approval for pornographic films . Laura Méritt , in cooperation with the Freudenfluss Netzwerk Berlin, announced the PorYes Award 2009, since then the PorYes Award has been held every two years as a feminist European porn film award in Berlin.

The PorYes movement developed criteria based on the women's movements: sex-positive depictions of lust of all genders, i. H. For authentic representations, women are desired at all levels of the production process, consensus of all those involved in production (working conditions, safe sex, fair pay) and diversity in the representations: both of the performers and in the display of diverse sexual expressions.

With the PorYes label, the initiators want to offer an alternative to sexism in mainstream pornography.

Another feminist film award is the Feminist Porn Award , which takes place in Toronto / Canada from 2006 to 2017 and has been under the name Toronto International Porn Awards since 2018 .

The name PorYes alludes to the PorNO campaign , which called for a ban on pornography. PorYes shares the criticism of the portrayals of mainstream pornography - instead of censorship, PorYes demands other pornography: feminist. The film award ceremony is supported medially by the taz , Missy Magazine , the Filmlöwin and AvivA, among others . The partner projects include Pro Familia and the Berlin Porn Film Festival . The Action Man and the Urania and the HAU support the project.

Feminist Porn Award

history

The PorYes movement saw a big boom in 2006 when the Feminist Porn Award was launched. Together with other employees of the sex-positive sex shop Good for Her in Toronto, Chanelle Gallant created the award. For an application, a film had to meet one or more of the following criteria:

  • A woman was involved in production, scripting, or other important areas of film production.
  • The film showed female sexual pleasure.
  • He pushed the boundaries of sexual portrayal in movies and challenged common stereotypes found in mainstream porn movies.

The website names the following evaluation criteria (as of July 2020):

  • Quality: A feminist attitude is by no means sufficient for a price. Light, sound, music, script , editing and other characteristics of production are valued, attention to detail is valued.
  • Inclusive Approach: It is welcomed if the film is aimed at a heterogeneous audience and experiments with sexual variants that are marginalized or ignored by mainstream pornography. BDSM is part of it if everyone involved agrees with it. A concerted non-agreement is in a fictional allowed context because it is recognized as a legitimate feminist fantasy.
  • Originality in the plot, constellation and interaction of the characters or on technical levels such as editing.

Award winning films and filmmakers

2009

The award, known as the "oyster", went to film pioneers of the sex-positive women's movement in 2009, including Candida Royalle , Annie Sprinkle , Maria Beatty , Shine Louise Houston and Petra Joy . The laudation was given by Corinna Rückert and Paula Rosengarthen , among others . The award ceremony was opened by its patron, the filmmaker Ula Stöckl .

2011

After most of the award winners came from the USA in 2009, the oyster went exclusively to European plants in 2011. In addition to the prizes for various sex-positive film productions, the French writer, filmmaker and actress Catherine Breillat was recognized for her artistic oeuvre. Breillat, who was not personally present at the award ceremony, procured “Sisyphus regains the right to see their own bodies and their own sexuality for women and girls through their work, right in their literary and cinematic work”. Breillat's compatriot Émilie Jouvet , the Briton Rusty Cave (Angie Dowling) and Mia Engberg from Sweden have received awards for individual films .

2013

At the third PorYes Award ceremony, filmmaker Monika Treut was honored as Germany's sex-positive pioneer, who conveys the diversity of sexual identities in her films, including Die Jungfrauenmaschine , Female Misbehavior , Verführung: Die Kreuzame Frau und Gendernauts . The Taiwanese-American multimedia artist Shu Lea Cheang was honored for her cyber porn film IKU and Cléo Uebelmann for her film Mano Destra , a strictly composed one-hour art film in black and white, which is considered the first ever lesbian SM bondage film , which was performed for the first time in 1985 at the first women's SM conference "Secret Minds" in Cologne. The young Spanish filmmaker Lola Clavo, whose works are influenced by the examination of sexuality, post-pornography and queer theory , was honored for her creative implementation of lesbian sexuality. As a teacher of a holistic practice of male sexuality, Joseph Kramer also received the oyster. Today he teaches his approaches at a sexuality teaching institution in San Francisco . Since the 1980s he developed intimate massage techniques, which he published in various educational films, including a joint work with Annie Sprinkle.

2015

Buck Angel , Jennifer Lyon Bell , Goodyn Green , Gala Vanting , Jiz Lee

2017

Sky Deep , Bishop Black , Maria Llopis , Chanelle Gallant , Ms Naughty , Dorrie Lane

2019

Analysis of the films awarded at the 2014 awards ceremony

In her dissertation, Nina Schumacher analyzed the 14 films that were awarded at the 2014 award ceremony in terms of content and implementation.

  • According to Schumacher, a great variety can be observed on the visual level. All of the award-winning films are of high cinematic quality, as poor sound or picture quality (e.g. cameras out of focus), as can sometimes be found in mainstream porn that is produced very quickly or cheaply, do not occur here.
    • In a film, color images alternate with black-and-white images, split screens or frames are used, bird's-eye views of masturbators and detailed shots of objects.
    • The faces of all actors are always shown, in most cases they appear dressed in the films.
    • Shaky camera pans are just as possible as settings that testify to a sophisticated composition.
  • From the level of what is represented it can be said:
    • Nine films show heterosexual sex, among other things, six can be assigned to the group transgender / queer . Six films contain lesbian scenes
    • Tattooed or pierced performers can be seen in 13 of the 14 films. Most of them are under 40 by appearance.
    • People of color can be seen or directed in six films.
    • Bondage , BDSM, and sex toys feature in eight films.
    • Safer sex accessories such as gloves, condoms and femidomes are not always, but occasionally, seen, although more often than in conventional porn.
    • While male orgasms (with and without ejaculation ) are not as prevalent, female ejaculations and persistent female orgasms are frequently shown when compared to conventional porn . Oral sex or male ejaculations practiced in phallic forms are nevertheless shown comparatively frequently, so that an essential feature of mainstream productions can also be found here.
    • Oral sex occurs in all of the films examined, with two exceptions. It is usually practiced reciprocally, sometimes in groups.
    • Anal sex , which is often featured in mainstream porn , only occurs twice.
    • The number dramaturgy that is common in conventional porn films, i.e. the largely incoherent sequence of sex scenes, is not found. This is a clear difference from the mainstream.
    • The majority of the bodies depicted are based on Western beauty norms, and more plump or very slim people are sometimes shown.
    • Body hair is seen significantly more often than in mainstream porn.

Schumacher sums up that the overall impression is given that “considerations of ethics of representation are in the foreground”. The examples show that the variety of modes of representation in feminist pornography is greater and greater than in mainstream pornography, even if heterosexual intercourse between young whites without any visible impairment characterizes a large part of the representations. Although differences from the ideal mainstream pornography could be identified, the films do not present themselves as something completely different on a visual level. However, there are additional features that define feminist pornography as a genre of its own. An essential differentiator is the degree of reflection. The general conditions of the production as well as the presentations would usually be questioned. The artists see themselves as political activists. They see their work as part of a movement, the Feminist Porn Movement and the larger feminist movement.

See also

Web links

Individual evidence

  1. ↑ poryes.de: FemPorn criteria. Retrieved October 25, 2012.
  2. ↑ a b Zeit Online : PorYes, the organic seal for sex films. dated October 16, 2009. Retrieved October 25, 2012.
  3. ↑ Home. Retrieved February 19, 2020 (Canadian English).
  4. ↑ poryes.de: FAQ . Retrieved October 25, 2012.
  5. ↑ MEDIA PARTNERS | PorYes - Feminist Porn Award Europe. Retrieved on July 7, 2020 (German).
  6. ↑ PARTNER_INNER PROJECTS | PorYes - Feminist Porn Award Europe. Retrieved on July 7, 2020 (German).
  7. ↑ SUPPORTERS | PorYes - Feminist Porn Award Europe. Retrieved on July 7, 2020 (German).
  8. ↑ a b Constance Penley, Celine Parreñas Shimizu, Mireille Miller-Young, Tristan Taormino: Feminist Porn. The politics of producing pleasure. In: Kristin Lené Hole, Dijana Jelača, E. Ann Kaplan, Patrice Petro (eds.): The Routledge Companion to Cinema and Gender . Routledge, London, New York 2017, ISBN 978-1-138-92495-6 , pp. 155-163, p. 157 .
  9. ↑ The Feminist Porn Awards: How did it all start? In: Feminist Porn Awards. Retrieved July 4, 2020 (Canadian English).
  10. ↑ Judging Criteria for FPAs. In: Feminist Porn Awards. Retrieved July 4, 2020 (Canadian English).
  11. ↑ poryes.de: Die Auster-Prämierte 2009. Retrieved on October 25, 2012.
  12. ↑ poryes.de: Laudation for Catherine Breillat. Retrieved October 25, 2012.
  13. ↑ a b poryes.de: Die Prämierte 2013 Retrieved on February 7, 2014.
  14. ↑ berliner-filmfestivals.de: Films viewed through the cunt: The PorYes Award 2013 from October 20, 2013. Accessed on February 7, 2014.
  15. ↑ humansexualityeducation.com: Faculty & Administration ( Memento of the original from June 23, 2013 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved February 7, 2014. @1@ 2Template: Webachiv / IABot / www.humansexualityeducation.com
  16. ↑ Redazione: 10 anni di Porno Femminista a Berlino: tutti gli eventi del PorYes 2019. In: il Mitte. September 16, 2019, accessed February 19, 2020 (Italian).
  17. ↑ Nina Schumacher: Pornographic. A conceptual ethnography. Sulzbach, Ulrike Helmer Verlag 2017, pp. 180–182.
  18. ↑ Nina Schumacher: Pornographic. A conceptual ethnography. Sulzbach, Ulrike Helmer Verlag 2017, p. 181.
  19. ↑ a b Nina Schumacher: Pornographic. A conceptual ethnography. Sulzbach, Ulrike Helmer Verlag 2017, p. 182.
  20. ↑ Nina Schumacher: Pornographic. A conceptual ethnography. Sulzbach, Ulrike Helmer Verlag 2017, p. 183.