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akademiskacademic quarter<strong>kvarter</strong>Does the Porn Star Blush?Charlie BlakeBeth JohnsonFocusing on faciality, this site also explicitly demands that submittedclips must be filmed on a digital camcorder. Poignantly, the sitealso states that all footage submitted must be ‘raw’ and unedited.Further instructions for submission read as follows:Frame the shot like you see on the site - full face, no nudity,preferably from a point of view above the nose. Makesure you have good light. Daylight from a nearby windowis best. If you’re using a lamp, it should be to one side,close to you but not too close to the camera, so the light isgraded across your face. It will need to be a bright lampand set the white balance manually to “indoor” (all camcordershave this control). Please don’t have any music orthe TV playing as it creates a copyright problem. Besides,Agony is an experience for the ears as well as the eyes, sotry and keep the background noise down. Capture thewarm up, and the cool down. Let us see all of your idiosyncrasiesand rituals, but we’re only interested in reality,not performances, impressions, or exaggerations. Let thetape run on at the end. You can talk to the camera before,during or after, if you like. Take as long as you need, we’lledit the tape. (http://www.beautifulagony.com/public/main.php)While on the one hand this site holds a place of interest in that is appearsdedicated to the democratization of sex and to ‘reality’ ratherthan performance, Beautiful Agony also insists that they, rather thanthose submitting, have full editorial control over footage. This certainlyproblematises the question of ‘real control’, power and democracy.A further issue can also be found in the site’s insistence thatall contributors submit ‘two takes that are different’. This instructionagain calls into question the mission statement of Beautiful Agony,specifically its self-proclaimed ‘interest in reality, rather than performance’.While concentrating on the face rather than the genitals ofthe contributors, the ‘two take’ demand suggests that performance,and in particular, facial performances of extreme pleasure are part ofthe real. In addition, while the close up appears to signify the ‘real,’it is also, through the edit, and specifically in the depiction of realsex, privileging the optical and the sonic over the haptic or verisi-Volume03 210
akademiskacademic quarter<strong>kvarter</strong>Does the Porn Star Blush?Charlie BlakeBeth Johnsonmilitude, and in that sense falling back into a logic of fantasy whichacts as a force of continuity amidst the discontinuities of the technologicaland cultural developments in cinematic history and the evolutionof the moving image from the short reel to the often equallybrief digital clip. It is in this sense that the post-transgressive can bemost clearly understood as an acceptance in Baudrillard’s age ofsimulation by both actors and viewers – who are often now one andthe same - of authenticity as an experience of the real subjectivelyexpressed as an aspect of the power of the false in which truth andreality are forever subverted by time.ReferencesBaudrillard, J. Seduction. Translated by Brian Singer. Montreal: NewWorld Perspectives, 1990.Baudrillard, J. The Year 2000 Has Already Happened. Translatedby Nai-fei Ding& Kuang- Hsing. Chen. Body Invaders: Panic Sexin America. Edited by Arthur & Marylouise Kroker. New York:New World Perspectives, 1987.Bogue, R. Deleuze and Cinema. London: Routledge, 2003.Colman, F. Deleuze & Cinema: The Film Concepts. Oxford: Berg, 2011.Deleuze, G. Cinema Two: The Time Image. Translated by Hugh Tomlinsonand Robert Gelata. London: The Athlone Press, 1989.Deleuze, G. Postscript on Control Societies, in Negotiations 1972-1990. Translated by Martin Joughin. New York: Columbia UP,1995.Deleuze, G. and Guattari, F. Capitalism & Schizophrenia. Vol. II: A ThousandPlateaus. Translated by Brian Massumi. London: The AthlonePress, 1988.Derrida, J. Specters of Marx: The State of the Debt, the Work of Mourning,& the New International. Translated by Peggy Kamuf. NewYork: Routledge, 1994.Foucault, M. This is not a Pipe. Translated by James Harkness. Berkeley:U of California P, 1983.Grace, V. Baudrillard’s Challenge: A Feminist Reading. London: Routledge,2000.Jay, M. Downcast Eyes: The Denigration of Vision in Twentieth CenturyFrench Thought. Berkeley: U of California P, 1993.Krzywinska, T. Sex and the Cinema. New York: Columbia UP, 2006.Volume03 211
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