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Don't have your phone? Create a new Playlist. Please enter the required information. Sign in to add this to a playlist. Sign in to remove this from recommended. You are now leaving Pornhub. Go Back You are now leaving Pornhub. Study abroad sextape Petite big boob girlfriend getting pounded by boyfriend Horny schoolgirl gets fucked by big cock while studying K views. Snapchat Nudes Compilation 4M views. Andrea Dworkin and Catharine MacKinnon offered a feminist theory of pornography constituted primarily of a harms-based evaluation asserting that pornography enacts violence upon women. The Golden Age was an era from the s to the s when high production values reigned in pornography, such as the use of film rather than video.

The derivation of anything but pain and oppression from pornography leads to accusations of perversity and pathology.

The derivation of pleasure supposedly indicates an agreement to one's own degradation. Similarly, feminist film scholars recommend watching porn films closely as socially relevant texts and especially as a genre worth studying, rather than a social problem in need of annihilation. For example, through an evaluation of the "money shot," the recorded capture of ejaculation essential in contemporary pornography, Linda Williams identified the problem of visualizing women's sexuality as important to the language of pornography.

Women express different kinds of sexuality.

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Women participate willingly in perverse practices. According to Wolf, male consumption defies Andrea Dworkin's prediction that the proliferation of pornography would lead men to do violence to women. Constance Penley, Crackers and Whackers: Wolf, supra note Id. Racialized analyses of pornography demonstrate how the simplifications of sexuality, production, consumption, and fantasy, as well as the rhetoric of gender victimization, register within the context of the lives of women of color. Minh-ha argues in Woman, Native, Other, women of color live at the intersection of multiple oppressions as they experience racism, gender discrimination, and sexual harassment.

Too easily, racial discourses of pornography are seen as regressive victimology in an anti-sexuality platform, rather than as a discourse within history that needs confrontation. Why it exists, what it has to say, and who porn thinks it's talking to, are more interesting questions than all these doomed, dreary attempts to debate it, regulate it, or protest it. Sex-positive discourse, proposed by sex-workers and cultural critics like Carol Queen and Annie Sprinkle, is not mutually exclusive from race-positive sexuality.

Gardner, pornography capitalizes on the underlying history of carnal, This is a particularly intense experience at conferences, where White feminists respond to my prioritization of race as sex-negative and feminists of color fear what the priority of sexuality threatens in terms of reifying the traditional pathology ascribed to women of color. Bright, supra note Magdalena Barrera, Hottentot For Gardner, pornography operates as a technology of racism, an arm of the monster. The diagnosis of pornography as negative continues in her collection of stories and essays You Can't Keep a Good Woman Down, wherein the love between a Black man and woman becomes undercut by the presence of pornography-so that what empowers Black men in the objectification of White women simultaneously disables Black female sexual pleasure.

While the figure of the Black woman in pornography as animalistic and intrinsically available derives from her historical debasement in slavery, the Asian woman, presented as culturally prone to sexual adventure and exotic difference, emerges from the colonial encounter of war. Gardner describe in their essays on pornography. It is important to recall the historical context of sexuality inscribing the immigration of Asian women into Figures of Chinese female prostitutes occupied a prominent place in popular culture, and this imagined threat shaped immigration, resulting in the "Page Law," which curbed their population.

At the turn of the century, Chinese female prostitutes were routinely harassed on the streets. Japanese women entered the United States as "picture brides" at the beginning of the twentieth century and as "war brides" in post-world War II America. While we acknowledge the sexuality of women of color in history and Black feminist theory regarding the dangers of pornography, women of color who are cultural producers advocate for what I term "race-positive sexuality," which resonates with the work of women of color in pornography.

A formulation that brings together the concerns of Black feminist theory regarding pornography and sex-positive discourse, "race-positive sexuality" emerges from the literature of Chrystos, Cherrie Moraga, Audre Lorde, and others, who present pleasure, pain, and trauma simultaneously, in ways that Tolentino, Bodies, Letters, Catalogs: Race-positive sexuality connects gender and sexuality in pornography to slavery and colonial history, while keeping open pornography's anti-racist and sex-positive potentialities.

If Lauren Berlant correctly poses the White girl's role in national fantasy as the figure of innocence that must be protected, 36 then the Asian girl's extreme perversity appears in pornography as a quality attributed to her ethnic culture and race. Thus, the Asian girl in national fantasy remains unprotected.

Acknowledging the tradition of women of color as cultural producers and critics who present sexuality as constitutive of their racial histories and subjectivities, race-positive sexuality argues for the need to acknowledge how sexuality can simultaneously be pleasurable, powerful, and painful. Rather than authorize critics to decide what good and bad sexualities look like for any racial agenda, we need to account for the specific ways sexuality works. Rather than advocate for a particular sexuality, I prefer to keep our definitions open so as to make space for those who experience sexual subjugation and are frequently silenced, and those who practice sexual perversity and who are too easily dismissed as dangerous, bad subjects who damage agendas of racial decency.

If the actual rape of third world women and women of color finds explanation not in terms of White male power, but in a natural female propensity for hypersexuality, then Asian 38 women's hypersexual ontology becomes described as essential. Thus, an attempt to shift the traditional understanding of sexuality and visuality as The work of these authors demonstrates the context in which women of color write about their sexuality. They assert the need to redefine sexuality in their own terms, as an act of defiance in the face of what Leslie Bow has termed acts of betrayal-or the trap of racial traitorship-for women who prioritize the gendered and sexual issues of racial experience.

What do we risk if we acknowledge the possibility that sexuality may be liberating if we look beyond the easy equation of the role of Asian women in national fantasy with disempowerment and damage? Contrary to Michel Foucault's criticism that the incitement to speak about sex classifies, disciplines, and punishes, 40 speaking about sex in the racial context aims to make sense of a particular historical subjection.

Chuck Kleinhans writes that "[f]ear of images erupts in even the most nominally progressive circles when it comes to sexual representations. Looking at pornography helps us to understand the fantasies and fetishisms of Asian women in popular culture. Fantasies do not merely unleash domination upon people of color. Fantasies can project desire, open the psyche, and work as technologies for imagination for authors, spectators, and critics of color.

We should keep the door open for redeploying fantasy in service of making space for those who need to articulate different deviancies and perversities in the broadest sense of political and social inclusion. Freudian understanding of fantasy emphasizes an alternative different from and at times defiant of reality. Chuck Kleinhans, Teaching Sexual Images: As Slavoj Zizek explains in The Sexual Act in the Cinema, the articulation of power can be seen and evaluated in the sex acts represented.

Not until very late in the 19th century would the shifting be completed leaving us today with a notion of sex as something like advanced calisthenics. Zizek discusses the process of composing the sex act in cinema by actors and producers in order to make an assessment about its unrepresentability. For example, pornography is "codified" rather than "spontaneous. Dafoe's character demands that Dem's character state her consent to his sexual demands, and then rejects her.

Through the focus on her hand, we see her resistance unravel towards willingness, what Zizek calls the "sign of her acquiescence, the proof that he has stirred up her fantasy. His surprising rejection, according to Zizek, further humiliates her-in a demonstration of power dynamics in the moment of the sex act.

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In my discussion of stag films, I describe the function of Orientalism in the production design of the genital show. By donning yellowface make-up and costume and applying linguistic approaches, such as accents and manner of speech, as well as the enactment of peculiar bodily movements, racial difference may seem reliably visible.

Within such a problematic formation, however, the juxtaposition of the stereotyped role and the Asian woman's body and psyche captures a collision that ruptures the fantasy. Early pornography problematized racial visibility. Since the fact of racial difference may not be visibly reliable, pornography finds ways to titillate through production design and narrative, such as in its intertitle texts or its dialogue. These elements work to establish racial difference as the erotic meat of pornography in early stag film.

Later, the presence of Asian women defies fantasy and stereotype as a prelude to the ways in which modem Asian women porn stars use pornography to comment on their racialization through sex and their sexualization through race. Early Stag Films In the genital show of early stag films, Asian women's skin color difference may not be visually apparent in black-and-white depictions of racialized bodies. The sex act demonstrates that Asian women's race cannot always be reliably established on film.

Stag films' use of Oriental objects to establish racial difference helps to define my concept of the "seeing of race as the seeing of sex. China begins at the home of a woman dressed up to appear Asian: He auditions her as an "Oriental Interpretive Dancer" and hires her to dance at the Rialto Circus for seventy-five dollars per week. In turn, she rewards him with sex, narrated by the intertitles as "an ancient Chinese way of expressing gratitude.

A wide shot retains and amplifies the power of these objects to remind us of the supposed racial difference. In the pre-sex scene, the Asian woman removes her jacket to reveal a matching dressing gown beneath. The edges of her shirt feature thick embroidery. The garments themselves help establish the seductive aura of the Asian woman by providing Oriental d6cor as difference in order to fetishize race. The tropes of White male upper-class-ness and Asian female sexual servility are presented through costume.

His thin, dark suit provides a contrast to her overly embellished figure. The contrast again gives the composition of the frame visual interest, creating unexpected beauty. Similarly, the sex acts make the racialized body's difference visible. In China's first sex act, the wide shot of the kissing scene involves the whole room: She also takes off her clothes and allows them to frame her body for a while. The ornate Oriental clothes do not leave the frame entirely; instead they accompany or supplement her.

She also peels away the layers of Structuring recuperation of Asian stag films for Asian male or female viewers is not possible in the same way that critics have approached gay spectatorship and subject formation. Finally, when the last of the clothing sheds, a different kind of skin is revealed. No special difference emerges. Therefore, the fabric plays an active part even within the subsequent sex scenes and the close-up genital shots. These meat shots featuring the Asian women seem always to come with a kimono, parasol, or fan, in order to remind us of the fact of racial difference that does not actually exist in plain view.

In China, the clothes--especially the ornate embroidery--enter the shot and prominently occupy the frame to an unnatural degree. The Oriental fabrics frame the genitals during the act of intercourse. To further emphasize the interracial encounter, the intertitle pops up with a name for a sex act that looks no different from any other male penetration of the female: When the bottom of her dressing gown, particularly the part where the two front halves meet, comes together in the meat shot, the patterns also form a pattern on the screen.

The objects remind us of race and also help to aestheticize the interracial sex act. The narrative and production design racialize the sex act and also help to create an aesthetic particular to the interracial Asian-White sex act. Narrative and accoutrements team up to assert internal racial difference, as secured by external markings. In other typical stag films, like A Country Stud Horse, which features primarily White sex,5 8 the sight of shoes during sex acts is a common convention.

In China, even this common trope conveys Orientalism through its ornaments. When effectively inserted into the' genital close-ups the shoe fulfills its purpose as a racialized sexual object. The shoe signifies excess sexuality, reminding us of the nature of the racialized being carrying out the act. The taboo miscegenation transpiring before us cannot be forgotten. The sex act is expressly linked to the Asian woman's racial and cultural background. The narrative supplements the accoutrements to remind the viewer of the racial and cultural Otherness of the characters.

The narrative line marks the sex and seduction as continually racial. The need for this line seems to give evidence of the filmmaker's belief regarding the racial nature of the sex act. Nothing of this sort occurs in White stag, where sex remains unmarked by race. Yet in stag films featuring interracial Asian sex, this theme appears continuously. When they strip out of their clothes, the intertitle reads, "When CHINA, supra note Thus, stag films included race as central to their production of Asian women through White women in yellowface. Post-i s Stag Films The era following World War II witnessed an explosion of pornography out of the stag arena and into mainstream venues.

In the fifties, antimiscegenation laws started crumbling in the United States, just as American military men brought home war brides from Asia. They included popular leading men paired with beautiful Asian women in love stories bound for marriage: China can be compared to a similar film, Geisha Girl unknown producer on file with the Kinsey Institute. In Geisha Girl, White men and women play Oriental in a fascinating fantasy of a monoracial coupling that is less prevalent today.

The convention of using Oriental accoutrements persists in the late s as the woman wears a giant gardenia in her hair, which becomes included in representations of fellatio. The two men featured wear Oriental garb. In one sex scene, the man's long braid, another accoutrement that marks racial difference, gets in the way of his genital coupling with the woman. After wiping off the semen from one ejaculation, the woman lies down on another man's braid. The braid and Oriental robes help author the erotic grammar of the sex scene, serving as visual markers of the racial difference in the sexual encounter.

While the skin color difference is not noticeable in such "Asian" scenes, the moustache, braid, clothing, and wigs take on larger significance. In Geisha, unknown producer on file with the Kinsey Institute , an Asian woman performed by a White woman in yellowface, akin to stag films from an earlier era, uses a kimono, flower in her hair, and Oriental paintings on the walls surrounding her to establish racial difference for spectators and for her lover. She converses with a man, who is looking around the space of her apartment, specifically her paintings, as the justification for his presence.

She is brush painting a horse, and they drink tea together. She also wears a wig and dances in a strange hodge-podge of movements that is attributed to Oriental tradition. In these two examples, I note how Oriental decorative excess informs production design as necessary to the establishment of Oriental authenticity. To see the construction of race is to see how pornography is a process of racial formation, for it secures racial difference through its production.

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Stag films began to feature more "real" Asian women and fewer White women in yellowface. Two particular trends in the portrayal of Asian women on screen, regardless of the race of the performers e.

First, an unusually high focus on extreme close-ups of the woman's genitalia evokes thoughts of the genital "slant" which mimics her eyes, the ultimate manifestation of her racial difference. Second, the eroticization of the White male-asian female marriage became more prevalent in society at the time, and so the stag film evolves to feature "real" Asian women who must nonetheless traffic in yellowface in order to sell racial visibility that would not otherwise seem apparent.

How does yellowface function in these films? It necessitates a re-evaluation of the reliability of the film medium, as well as its possibilities for political critique by Asian female actors. In the film Date Night, erotic scenes produce Asian female-white male domesticity. The White man no longer knocks on the door to encounter the strange Asian woman; she acts as his wife or girlfriend. Here, the sex scene's lack of Oriental objects in the genital show finds revision. The title of the film is confusing at first: Date Night hints at a night on the town and the need to prepare oneself by dressing up, not down.

Unlike earlier stag films where the mana talent agent, plumber or external figure-enters as an outsider to the home, the man in Date Night enters the home as her husband or boyfriend. When he enters, she does not stand at all, but warmly welcomes him with a smile, without stopping the filing of her nails. The premise of the narrative has completely changed from earlier films, where the encounter between Asian women and White men transpired within an outsiderinsider relation.

In earlier narratives of films like China and Geisha, the man, usually a stranger from outside the home, encounters an Asian woman, her body racially marked by costume, in her racially marked home. The genital shot differs the most, however. Instead of Oriental accoutrements, we see a wedding ring-a diamond placed in the depths of the genital show.

The presence of this very unique sort of object in the sexual relations of the White man and Asian woman suggests a rewriting of Asian female presence in the later stag film, one that shows a link to historical events such as the entry of war brides into the United States. History and the unfinished legacies it leaves generate fantasy in pornography. Date Night's sex scene engages the question of racial difference within the couple's interracial domesticity. The increased number of kisses relative to earlier films and the genital show establish a marital type of relationship that is absent from earlier films.

The display of the Asian woman's genitals repeats again and again, as if it is anticipating the demand for visible evidence of racial difference. The demand, established in earlier stag films through intertitle texts, labels the vagina as slanted and instills anticipation for it as part of the erotic language of the shot sequence.

The repetition of the genital shot in these later stag films demonstrates that no visible biological difference can be found in the Asian woman's vagina. The racialization that occurs here differs significantly from earlier stags that required the reminder of racial difference. Unlike earlier stag films like Mgnage Moderne Du Madame Butterfly, where the intertitles insisted upon a biological difference for Asian women, 71 the sixties stag films worked to establish the lack of racial difference by using extreme close-ups, such as the man's hand opening the woman's genitals with his fingers.

Oriental Girlfriend, the latest among the stag films I discuss here, the White man enters the scene as the woman sits in front of her dresser. If we did not take into account the historical changes occurring at No racial decor marks the genital show as in earlier stag films, even if Oriental objects adorn the apartment. The sex scenes seem largely reciprocal: The characters take turns doing the same things to each other in a now rather subdued scene stripped of the garish racial circus of Oriental objects.

They register as a couple accustomed to their sexual ritual, and here they keep intent on completing it together. While familiar domesticity frames the couple, fetishization emerges in the interracial sexual coupling itself. That is, in later era stag films, a dynamic relationship ties history to the contents of the narrative, and historical movements inform and shape pornography featuring racial subjects. Race determines the erotic currency of the films in ways that continue in later pornography. Within this context, racial visibility as crucial to the sexual economy persists in Golden Age pornography, where Asian women complete a form of yellowface initiated by White women in early stag films.

Internet Adult Film Database: When pornography attempts to correspond humorously with mainstream films like Sayonara, 78 Deer Hunter, 79 and Apocalypse Now, 80 we can see how both symbolic arenas cohere to establish in the popular imagination perceptions of Asian women as hypersexual. Popular representation, of which pornography is part, helps us to understand racial formation. The racialized bodies of Asians are symbolized through Oriental objects like the jade pussycat and the green lingam.

Objects, spaces, and racialized bodies construct the erotics of interracial pornography. Their sexual acts, practices, and identities are also organized by racial categorization. Asian female porn stars use their racial sexualization in pornography to rewrite their subjectivities. In this Section, I survey various yellowface stagings by each of the Golden Age actresses. By studying how each fulfilled different yellowface stereotypes, we can see the production of race across time. Porn actors work to produce characters, and fantasies. Such a formulation encourages a theory of representation that should also extend to our spectatorship: Pornography demands study precisely because the actors' authorship and performance function as exchanges of power and deployments of resistance.

Race determines her sexuality and her role within the films where she established a reputation for welcoming all sorts of sex acts. This brand of sexuality makes up the erotic thrust of her sexual relations compared to other women, in that race defines the roles she plays: In each, she represents the ultimate deviant.

Racialized not only by her roles, but also by the narrative, props, costume, makeup, and the racial intensification of the genital show and the money shot, she occupies the role of an exceptional Asian who meets White normative standards of beauty. In one of her most popular films, Oriental Babysitter, 83 Linda Wong plays a teenager whose babysitting jobs lead to sex with her White male and female employers. The film opens with an introduction to Wong, who looks directly at the camera and narrates her escapades from the position of a sexually insatiable, but otherwise innocent, young woman.

She begins, "[w]hen I was younger, [I had] many fantasies," as we see her caught in the middle of a White husband and wife's fight. The man "looks towards me at any chance. For an Oriental girl [you've got] large breasts. While her face expresses surprise and a little fear, her voice emphasizes the willingness and desire awakened in her.

She feels sorry for him for being drunk, describing him as "poor man. He comes on her belly. She then describes how the man apologizes for taking advantage of her-which she counters in the voiceover as actually the fulfillment of her desires.

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She "really lived out one of [her] fantasies. She delivers the following line adorned with jewelry and big coiffure rather than racialized adornments; "After a few more babysitting jobs, I thought I learned a lot. I would suck a man's penis with dignity and total love. The racialization continues from the title to her lovers' responses and to the emphasis on her Asian face as the punctuation of every sex scene in an intensification of the money shot.

The face becomes When accompanied by the discourse of the Asian face as the "zone of contact" by David Palumbo- Liu, 8 4 the money shot has racial implications. The proof of the man's pleasure on the woman's face, as the vehicle of her sexual expression, serves as evidence of both the man and woman's collective pleasure. When the ejaculate occurs on the Asian face, as the terrain where racial interiority manifests externally, it mobilizes the language of racial difference to infuse the proof of pleasure with racial eroticism.

In Jade Pussycat, Linda Wong plays a traitor to her White male lover, who secures a long-lost cultural treasure, the aptly named Oriental object, "jade pussycat. As they linger together in bed, Linda's comrades, a pair of Chinese men, arrive on the scene, revealing her duplicity. Like in James Bond films, where sexual encounter leads to betrayal, so operates the story of Linda Wong's femme fatale character, Jasmine, in this part of the "Johnny Wadd, Private Detective" series. In a later scene, a German dominatrix, played by porn star Georgina Spelvin, "requires" Linda Wong's presence.

The diminutive Spelvin commands the larger-bodied Wong: Spreading apart Linda's legs, Spelvin asks a question perennially rehearsed in pornography, "Is it true what they say about Chinese girls?

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The racialization of acts and genitalia extends to identities. Similar to their plight in Hollywood movies, the "sneaky little Chinaman" plays a rapist and the Dragon Lady fails in her goal to conquer the White hero. White order restores a narrative of racial adventure. Racial identification overdetermines Wong's sexuality in conjunction with other problematic themes, such as the production of her otherness as perversity: Dragon Lady, lotus blossom, or racial traitor.

In China Lust, another Oriental object, a "green lingam" actually symbolizes the sexual nature of the Orient and its "ancient sexual rites. It brings "the good-hearted joy" and makes "the bad-hearted miserable. The sexually-fueled search for the green lingam concludes with a sex scene between a Black man and Asian woman, their racial visibilities fueling the eroticism of their climactic encounter.

In a film that features a racial and sexual mix of characters, the two extremely perverse hypersexual beings fulfill each other. The pairing of two taboo, racialized sex objects conveys racial fetishism. The two powerful racial taboos join forces, creating the film's erotic culmination. Gorgeous, tall, and long, she was an unusually good-looking woman not only in comparison to Asian women, but also to the other women with whom she engaged in sex.

Wong's beauty, however, while clearly Asian, was atypical of any woman.

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She was an exceptional figure whose stardom capitalized on her visible Asian-ness, noting that her extreme beauty made her simultaneously hyper-visible and invisible in terms of her race. Wong and Carrera are also closest to meeting the White ideal of beauty. They look "Whiter," whether in stature or in features; thus, their stardom speaks of the marginalization of Asian women in pornography, who must meet impossible standards of beauty.

Stars like Mai Lin did not fulfill typical standards of White beauty. In her use of Oriental accoutrements, Mai Lin asserted a different form of racialized beauty and sexuality. In the late s and early s, a set of her films continued themes from the Vietnam War and other scenes of inequality, where 89 race composed part of the sexual enjoyment. Mai Lin, also known as Maile and Miko Moto, started her career in the mids and frequently featured extra long dagger-like nails in the style of Anna May Wong's "longest nails in Hollywood. See also Cynthia W. Her roles as the maid; the prostitute with a heart of gold; the sex expert; the mysterious, forever-foreign Chinatown girl; the masseuse; and the Dragon Lady in a Bond girl type of situation are all racialized as different from White sexuality.

Excalibur Films describes Mai Lin as insatiable, frequently having sex even when the cameras are off. Her innocent plea "not to get in trouble" with the mistress for cavorting with the master thrills him. He fetishizes not only her employment status but also her racialized body parts, wondering how she cleans with her long, long nails and stiletto heels. He directs her to carry out various acts. She responds with a mix of resistance and compliance.

She says, "I don't want to make any trouble," then asks for clarification regarding his directions, as she touches herself. In these scenes, race and class difference are thrilling factors in the sexual act. As the maid, Mai Lin's racial difference plays a role in her sexual response and desirability.

Dressed in a black cheong sam and shifting her long hair, Mai Lin responds to his question about his "cock"; "Yes, it is very big Her response also gauges the powerlessness fueling the sexual encounter. In a racial turn, the master eroticizes her exotic name when he asks where he should penetrate her, and all the while narrates his actions by uttering her name, "I am fucking you, Mai Ting Racial difference counts significantly in the sexual eroticism presented in the film.

In Rated Sex, Mai Lin seduces a tourist with the lures of Chinatown and the attribution of sexuality particular to Chinese culture. The tourist says "I've never had an Oriental girl before.. Suzie Wong," as Mai Lin glides her long nails along his body. She gives him "a nice Chinese massage," and then reverts to the Dragon In these porn titles, different fantasy scenarios are enacted, and Asian women are merely part of the various special options available. Racial difference relegates Asian female presence in the Golden Age to the realm of "special" desires, practices, and identities.

Unlike the norm in pornography, where White women don various costumes, Asian women must always wear their race in terms of sexuality. The narration contextualizes the scene as memory and describes the hypersexual ontology of the Asian woman. I met her in the last months of the war years ago.

Sex was the only commodity cheaper than human life.. Jade was a whore, all right: What else was there to be? But she had this real special quality with me, like she was really getting off and somehow it wasn't an act. At least that's what she made you believe. I think back on how much I hated that hell and then I remember her. Shit, maybe I wasn't in love but I was sure as shit hella in lust. The boat stops as they have sex, and we hear sounds of monkeys, roosters, and other animals.

The setting and the sound design created a particular sexuality for the Asian woman, signaled as natural to her biology and her geography. Kristara Barrington played roles that included a Chinatown girl and Spoil of War. Ron Jeremy offers an "American hotdog" to her "sashimi. In One Night in Bangkok, Kristara Barrington dons an Oriental accent of broken English within a narrative where soldiers compare the whorishness of Asian women to the innocence of the White women they left behind at home.

The history of Asian prostitution in San Francisco during the late nineteenth century plays into the scenario in Yankee Seduction, 10 2 a film set in the South after the Civil War, where a Chinese prostitute takes over a brothel in a racially harmonious conclusion to a film set in an intense racial scene. Barrington orders a Black man to strip so she may fellate him. He speaks to her with deference. He asks, "May I fuck you, Miss Lee? She also fights with a White woman, who calls her a "San Francisco reject, traitor, criminal" and former bordello whore, before they engage in lesbian sex. Race operates as a titillating force in the cross-racial sexual encounter.

Kristara Barrington's films include her racialization as Asian as part of their erotic offering. She composed roles marked as Asian biologically and also historically. While Asian women grew visible in The eroticization of racialized and cultural historical events, such as the Vietnam War and the poverty of the third world, provide erotic fodder for Linda Wong's other films, like China De Sade, supra note Set "somewhere in Southeast Asia" during the Vietnam War, the scenery of riverboats, thatched roof huts on stilts, and coconut and palm trees organizes a tropical setting for erotic interracial relations.

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The music is similarly primitive, with drums evoking the grand scenes of Apocalypse Now, supra note 80, and the crew's journey on the river. The sex scene, set in an unspecific location in Southeast Asia, features a blonde White woman threatening a White man with a gun and forcing him down, as Linda Wong performs fellatio on him. A knife appears, and suddenly the White man is bleeding everywhere-blood drips all over the White man and Asian woman's hands.

The Asian woman massages the blood all over her body. The White woman joins in the sex, and we see a knife cutting a slit across the man's arms. This sex scene shows how the Golden Age of pornography was a moment in the making of pornography where acting, directing, design, and craft took priority. The high production qualities came together to establish Asian women's perversity.

Within China De Sade, the poetic use of blood explains the history of colonialism and war as a frame for interracial Asian-White relations. It seems to be inspired by war films such as Deer Hunter, supra note 79, and more closely, Apocalypse Now, supra note China De Sade's villain, Captain Krieg, evokes Marion Brando's General in the performance of a sadist who surrounds himself with multiracial others. Here, they become sex slaves and masters. A Black male guard with a gun rapes the Captain's daughter in a scene later revealed as sex play.

Ming Lee works as the Captain's dominatrix, commanding others to have sex while serving him sexually as well. The lieutenant protagonist reunites with Ming Lee and they have sex in a cage while he is bound. The captain captures Ming Lee and the lieutenant and forces them to have sex, while the daughter whips both of them. In these scenes, the lieutenant asks, "Why do I love seeing [Ming Lee] in pain? The pain on her face, as legacy of colonial war history enacted on her body, seems to be part of Ming Lee's attractiveness to the White male lead.

Distinct because of race, Asian women are forever foreign against American men, Black or White. They play roles that seem like one-dimensional fantasies, such as Dragon Ladies and Spoils of War. They possess cultural traits in their sexual skills. Decorated with Oriental accoutrements, they are fetishized for their visibility as Asian women who are exceptional to their race. Myths of servility imbricate their sexualityin ways they contradict or fulfill-but must nonetheless engage. They cannot flee its hailing.

Within history and fantasy, Asian women must answer the call to race.

Within these roles, they must carve unique presences. This production of sexuality by porn stars developed in the contemporary scene, where porn stars enjoy celebrity in multimedia form. In contemporary pornography, two megastars show different ways of working within such racial legacy, using a multiplicity of media toward political ends. Two Asian female porn megastars from the s defy this cacophony of racial fantasy and fetishism in rewriting themselves through the Internet, and in rewriting sexuality through selfauthored pornography.

Asia Carrera also worked as Asia and Jessica Bennett from to in titles, while Annabel Chong acted from to in fifty-one films While acting in significantly fewer films, Annabel Chong established a notorious career that shot her into prominence, not only in academic circles, but also in popular culture beyond pornography. Asia Carrera directed two films in and Annabel Chong directed two films between and The Internet becomes a new technology in these women's authorships.

By redefining sexual normativity through a program of embracing polymorphous perversity, she illustrates Katrien Jacobs's argument that politics finds expression in pornography if it creates new public spaces for sexual expression and for redefining sexuality. She relinquished control of her commodification in favor of presenting what I call a theory of unknowable subjectivity and unreliable representation. Unlike White feminist pornographers like Nina Hartley and Candida Royalle, who make works that aim to create a different sexual economy for women's pleasure, 10 7 Carrera and Chong do not shy away from presenting the fantasies of Asian women as crucial to their self and social legibility, so that their images reinscribe the tradition of hypersexuality as essential to race.

A racially based organization of sexuality continues in contemporary pornography. Asia Carrera Within this limited array that includes the work of popular porn stars like Mimi Miyagi and Kobe Tai, the porn star Asia Carrera appears in over films from to She has written and directed at least two films, Apassionata ll and Last Little Whorehouse. II Asia Carrera's presence, like Linda Wong's, resonates, for both possess extraordinary forms of Asian beauty and exceptionally beautiful bodies that adhere to White idealized standards. Like Linda Wong, Asia Carrera presents a racially different body that nonetheless fulfills normative beauty standards.

She chronicles the production of beauty through plastic surgery on her website, presenting the aesthetically pleasing body as part of her profession. Like Linda Wong, Carrera's face plays an important role in the money shot in terms of emphasizing the racial difference at the moment of providing proof of pleasure. While the money shot typical in feature pornography indeed relies on the woman's face, in Carrera's films the money shot functions doubly, proving her racial difference and her particularity as an Asian sexual presence.

We always return to it in a particularly coy and innocent expression: Close-ups on her whole face show her tonguing the semen as a form of beauty shot. Her face occupies the central object of vision. Linda Williams argues that the Adult Video News, last visited Mar. See also Google, last visited Mar. In screening compilation films like All Star Asians, the selection of films is unified by the overdetermination of race in presenting Asian female sexuality in pornography, ALL STAR ASIANS Vivid Films starring Asia Carrera, Kobe Tai and others ; for example, the fetishization of their body parts, such as in the smallness in stature of Kobe Tai in Haunted, where the male performer does not demonstrate connection to her as a subjectivity but as merely a body to use.

The dialogue employs the "ancient forces," "yin and yang," "jade stalk," and "jade gate," and the action involves Oriental massage. In John Friendly Big and Small, directed by John Friendly, the Asian women act as extremely enthusiastic, energetic, and servile sex partners coded as third world subjects. Asia Carrera's visible expression of pleasure while maintaining perfect makeup extends this shot to the realm of glamour and beauty extraordinary to pornography.

An identifiable face loaded with meaning; the combination of model minority and exceptional beauty in dirty pictures constitutes the erotic power of her stardom. Both Carrera and Jameson are "Vivid Girls," members of a collection of porn starlets retained by Vivid Entertainment Group, who represent a new breed of porn star; they do not look like typical down-on-their-luck pom stars, but like Hollywood movie stars in full glamour.

This difference is brazenly advertised in billboards all over Los Angeles, especially around the mids. Pornography had come to be widely acknowledged as entering mainstream acceptance, and Vivid Girls exemplify this crossover. In this video directed by Bud Lee, Asia appears in money shots that simultaneously foreground her beautiful face, a merging of the conventions of romantic comedy and pornography.

In a racially unmarked role, the narrative line focuses on her production as a sex machine. She comes to possess intrinsic qualities for achieving and generating great sexual pleasure. In the film, couples enter a sex club and join a contest for individually demonstrating the best sexual abilities in a variety of scenarios. Possessing innate abilities for achieving such pleasure, Asia Carrera's character wins. Her boyfriend does not do so well until the end, when they both combine forces to give pleasure to the Madame-dominatrix played by Jenna Jameson.

Both Jenna Jameson and Asia Carrera are presented as the exceptional beauties of the film. The other characters do not meet the traditional standards of beauty in mainstream popular culture and are presented as secondary characters. Carrera and Jameson, on the other hand, exceed the normal expectations for beauty and are shot accordingly. Asia Carrera, beautiful like Jenna Jameson, displays particular talents for moving her body well into the shots. They both traffic in the currency of pornography in terms of possessing beauty both typical and excessive of their racial group, such as in the long black or blonde hair and exceptionally tall and seemingly surgically altered bodies.

Thematizing gender and sexuality, Asia Carrera also directs and writes her own films with her now ex-husband Bud Lee, credited at times as Bud Carrera. A is for Asia"1 6 presents a narrative about "Asia's First Anal" while presenting the very act itself several times. In the opening shot, we follow a woman's legs outfitted in white stilettos walking along a dingy alleyway.

Revealed as Asia Carrera, the woman approaches two men, presumably drug addicts, as one lays on the ground and the other rummages through a dumpster. The title sequence then shows the behind-thescenes processes and equipment required in making the film. We see a White male crewmember's hands in very dirty gloves collecting cable, setting up c- stands and lights, and handling a Makita Drill. The credits show us that the film is written, directed, and produced by Asia and Bud, as he enters her dressing room to give specific prompts about her craft as an actor. He says, "Your man tells you 'You're not cool enough to be with his friends and family.

The clever behind-the-scenes approach allows for the crew's inclusion in the shooting of the sex scene. We see camera operators maneuvering intricately and acrobatically in order to illuminate particular angles we subsequently see. Throughout this scene, Asia Carrera acts with a kind of bright, cheerful wholesomeness composed of her enthusiasm, energy, and great flexibility. In every moment, she actively engages her partners and directs the action. She summons one to carry out an act while she positions herself to involve the other.

She actively initiates and composes actions in the sex scene. In this scene, Asia's work shows how women as stars have a role in the authorship of their pornography. The choreography of sex needs full coverage in terms of shooting from a variety of camera angles. The film highlights quite centrally the sexual partnership between actors working together to do what feels right while selling the work of sex.

Orgasm also requires her craft. The sex scene ends with Asia Carrera's flawlessly and heavily made-up face, licking semen while presenting a very happy, open, and flirtatious face. Afterwards, she and Bud discuss what happened. She explains her creative choice in acting and the direction she pursues as an actor; "I thought you wanted a nasty finish. You didn't like it? Asia Carrera authors sex scenes herself in an explicit demonstration of agency and authorship of her sexuality, as well as an engagement of the question regarding the primacy of the actor or the framing of the director and writer.

As such, writing and directing a film Bud Lee suggests the idea of "being in this business two years now The film subsequently follows the process of her first anal scenes, accompanied by a shooting style that "exposes" the processes of porn stardom. In the next scene, Asia defends her choice of shooting her first money shot as "know[ing] what sells," in order to present her self-authorship within pornography.

A discussion about the anal sex scene shows her fictional husband's inappropriate possessiveness. Demonstrating savvy business practice regarding self-reinvention, she says, "I want to give my name some lift as an adult film star. Her fictional husband describes the anal act as "the only thing I have with you. Asia asserts, "Let's not equate my love for you with my asshole; it's more than any sex act.

I love you with all my heart and not my ass, okay? You've got the best parts of Asia Carrera. The film presents the anal sex scene as a revelation of a private Asia executing a brand new, never-before-seen or -done sex act in her home space. This enables the shooting of two anal scenes as Asia's first time. The movie ends with Asia's anal with Tom Byron and double penetration with two dildos, as her fictional husband watches.

Framed within her autobiography, the reconciliation scene demonstrates what her real-life husband and co-director Bud Lee Carrera declares on camera as the end credits scroll; "Another happy ending to another movie in Carrera-ville! In the postmodern presentation of film within a film, the play between Asia Carrera's porn life and true life provides erotic fodder.

Bud's taking on Asia's name also signifies an acknowledgement of her star power and the gender power dynamics raised in their working relationship as husband and wife. The commodification of her autobiography also informs the next film she writes and directs.

Co-directed, written, produced, and composed by Asia Carrera, Apassionata 1 7 follows the life of a runaway homeless girl and her fantasy life as a racially unmarked princess in the time of Mozart. The film, a period piece with high production values, begins with Asia dressed in a white wig and ball gown in a scene that establishes her as a royal princess under the tutelage of Mozart, with whom she has a torrid affair. We realize these period Dressed in combat boots and overalls rather than Oriental accoutrements, Carrera stands out as racially distinct among the cast.

The incongruence of her racially visible composition within the setting works as part of the allure. Nonetheless, her star persona as a model minority-a member of MENSA the high IQ club recently acknowledged her membership and a piano prodigy-inserts itself into the language of pornography. Indeed, part of her popularity comes from her racialized history; she played piano at Carnegie Hall in her early teens and taught English as a teenager in Japan, all details inserted in her porn star biography.

These biographical details highlight her exceptionality: What is such a good Asian girl doing in pornography?