It’s my final day on location near Prague with Team Lupin, and I have house envy as well as tan envy. We’re shooting in the luxurious bathroom of our rental house, and the two beautiful girls in front of me have matching deep tans, no mean feat as it’s barely above freezing outside!
Anna Rose is a SexArt favorite with good reason; her elegant style and willowy figure give her the look of a high-class fashion model, but she is actually great fun, very down-to-earth, and a really versatile actress too. Annabelle is brand new to SexArt and has the potential to become a big star; she’s adorable, with freckles and a cute gap between her front teeth, but also happens to have surprisingly big natural breasts! I have a feeling you’re going to love her.
The girls are bathed in soft natural light as the scene – titled “Water” – begins. They have been flirting and blowing kisses to each other before shooting starts, and as Annabelle reclines in the bathtub and Anna Rose pauses to stroke her on the way to the shower, their attraction to each other is evident. Anna Rose starts to soap up her slender body, touching herself and gazing hungrily at Annabelle through the glass. She joins her girlfriend in the tub, kissing her avidly and fondling her incredible breasts, her peachy ass high in the air.
At this point, camera supremo John Sweet is standing precariously on the edge of the bath, heavy camera on his shoulder as he gets a perfect overhead shot, and with two other camera operators, director Andrej Lupin, myself and the two gorgeous girls in the room, and all that hot water running, things are getting pretty steamy. The water on the girls’ bodies is casting too much glare, and it’s the sweetest thing to see camera operator Qweedo Climber respectfully dabbing Annabelle’s boobs with a towel and trying not to touch – they should have given the job to me!
Annabelle moves to sit on the edge of the tub, her thighs spread as Anna Rose kisses all the way from her pretty toes to her sweet pussy. She licks and strokes gently at first, making Annabelle moan softly, then sucks her nipples as she fingers her deeper and harder. Annabelle lifts her hips, supporting her weight on her hands as she rocks her pussy against Anna Rose’s mouth, boobs jiggling. It’s intense, her pussy making sexy wet sounds; suddenly she’s so overcome with pleasure she slides back into the water, giggling and gasping.
Anna Rose moves into doggy position, one leg up on the side of the bathtub to give Annabelle full access to her pussy. Annabelle’s talented tongue and fingers drive her wild, making her hump back fervently, her excitement building. Annabelle presses her soft breasts against Anna Rose’s firm ass as she finger-bangs her vigorously. Anna Rose turns onto her back in the water and Annabelle strokes her to a breathless and powerful climax. The girls caress each other languidly as they bask in the afterglow of their lovemaking.
I would love to stay and see what happens next, but it’s time for me to head to the airport and back to reality. Below you can see a sneak preview from the afternoon's scene, with Delphine and Kiara Night, the new model I told you about yesterday. Now Team Lupin is moving to a new location, with a bunch more models arriving, both new girls and returning favorites. I can’t wait to see what they shoot. Thanks to the whole lovely team for making me so welcome and letting me see the magic this week – I had a blast!
Day four of my visit to Prague for Andrej Lupin’s location shoot brought freezing temperatures and hailstones; it was a new experience for me to go for my morning run wearing gloves and a woolly hat, but the scorching scenes that followed soon warmed me up again!
First, the team were shooting lovely Russian doll Leda with her partner Bran, for a scene titled “Hurry Up.” Bran was attempting to read a magazine, while Leda did her utmost to distract him; guess who won? Well, I certainly wouldn’t be able to resist if this gorgeous babe climbed on my lap and started kissing me, and as it turns out, Bran isn’t immune to her charms either! It’s a simple premise for the scene, but it works perfectly because of the genuine love and passion between this real-life couple – they are so in tune with each other, physically and emotionally.
Leda is only wearing a shirt, and when she unbuttons it to reveal her fantastically firm, tanned body, there is a collective intake of breath from the whole crew. She really is stunning. She grabs Bran’s magazine and tosses it away as she straddles him, and naturally he doesn’t resist. Leda kisses him avidly and frees his cock from the confines of his pants, stroking it and then guiding it into her pussy. She rides him energetically, bouncing on his cock faster and harder, then turning around into reverse cowgirl and sliding all the way up and all the way back down again on each stroke. Her perfect ass ripples with the effort as Bran lets her do all the work; she comes abruptly and extremely hard.
Dismounting, Leda sucks Bran’s cock lovingly, and then he eats her pussy before thrusting back in missionary-style and fucking her all the way to their mutual orgasm. It’s a real feelgood scene, and as they kiss and cuddle afterwards you can sense that performing together for the camera adds an extra closeness to their relationship.
A little later, it was time to shoot something quite special – a beautiful girl filming her first EVER scene! Kiara Night is a pretty blonde Russian girl with big blue eyes, uptilted breasts and sweet soft curves. Although she doesn’t speak much English, she is very friendly and clearly eager to take her first steps on this new adventure. Her partner for the scene – working title “Love to You” – is Ricky, a handsome Czech guy who is evidently delighted to be guiding her in this experience.
Not that she needs much guidance, as it turns out! As soon as they start kissing, Kiara’s hands are all over Ricky’s body, grabbing and stroking and squeezing. She is clearly very excited to be doing this, and as they kiss she slides her hand down to rub her pussy frantically. Ricky replaces her hand with his own, and they are too hot to waste much time on foreplay before both are naked and he is thrusting his rock-hard cock into her. She is flushed and moaning, squeezing her nipples as he goes down to eat her pussy ravenously and then slides back into her in spoons. He lifts her leg high and jackhammers into her, getting her more and more aroused.
Kiara dismounts and takes Ricky’s cock in her mouth, jerking him off and licking up and down the shaft, then sucking him deeper and deeper with each bob of her head. His cock is shiny with saliva when she straddles him in cowgirl, riding hard. It’s so refreshing to watch a girl who hasn’t picked up any porn star mannerisms having sex just as she would in her bedroom at home, flushed with the exertion and throwing her head back as she rocks her hips sexily. She’s clearly loving every second, and Ricky looks like all his Christmases have come at once as he flips her onto her back and starts pounding into her in missionary. He almost fucks her right off the bed with his vigorous thrusts.
I’m right up close to the steamy action, and I’m watching her face in cameraman Qweedo’s monitor too; she looks so pretty, her face suffused with lust as she claws spasmodically at Ricky’s chest and orgasms hard and loudly. Ricky fills her with his load as she comes around his cock, both off them glistening with sweat. The temperature inside the room seems to have risen exponentially!
A night out in Prague was called for after such an amazing day’s shooting… more tomorrow, folks!
So, look what I found on my phone! That naughty Tracy Lindsay obviously had a message for you all that just couldn’t wait… what a gorgeous girl she is!
Today’s shoot here on location in Prague with Andrej Lupin and his team kicked off with a scorching boy-girl movie, “Day Off,” starring brunette beauty Kerry Cherry and Team Lupin’s production manager Matt The Great, in his alternative identity as super-stud Matt Ice. It’s pretty damn impressive how he can switch from one to the other with seemingly boundless energy, and he’s such a sweetheart all the girls want to work with him.
From the start, it’s obvious this is going to be a great scene. Kerry has a terrific personality, smiling all the time and joking with the crew; if you met her in real life you would certainly want to get to know her better. She and Matt have outstanding chemistry and are giggling, smooching and cuddling long before filming starts.
The story is that Kerry is cleaning out the kitchen cupboards on her day off, and asks Matt for help reaching something from a high shelf. The fooling around and play-fighting soon turns to genuine kissing, Matt pulling up Kerry’s top to suck her nipples and then lifting her onto the counter. He licks down her taut stomach and tongues her pussy through her panties, before pulling them off and eating her with an intensity that has her back arching and her whole body shuddering with pleasure.
Kerry moves to her feet to unzip Matt’s pants, stroking his cock and then bending over the counter so he can slide into her. She grinds and thrusts back against him, moving faster, loving the sensation of his thick cock inside her. Matt slams in harder, Kerry’s pert ass rippling with each stroke and their flesh slapping together noisily. He lifts one of her legs so he can penetrate her even more deeply… they are so into each other that they keep right on fucking even when the crew stops to make technical alterations, in fact I don’t think they even notice the cameras aren’t rolling!
Matt lifts Kerry right up, supporting her whole body as he thrusts up into her, then sitting to let her ride to her climax. She has several quiet but powerful orgasms before the big one hits her, then hops off to suck and lick him, and jack him off all over her perky tits. The sexual energy throughout the whole scene is so amazing you certainly won’t want to miss it.
After lunch, Leda and Kerry shoot a scene that has a working title I can’t even translate – Andrej tells me it’s something between licking and fucking! The girls certainly do plenty of both, looking absolutely irresistible together in elegant silk robes. As they chatter away in Russian, Kerry teasingly grabs the sash of Leda’s robe and unties it, uncovering her beautiful breasts. She lets her own robe slip to the floor as they kiss and rub their lovely bodies together. Both are such naturally stunning, slender, tanned brunettes, and the effect of seeing them wrapped around each other is sensational.
Leda guides Kerry down to suck her nipples; when they are stiff and throbbing, Kerry kisses her way on down to Leda’s sweet pussy, eating and fingering her hungrily. It’s hot, juicy and intense, and Leda comes hard around Kerry’s questing fingers. Kerry sits on the table and Leda spreads her thighs wide and licks her hungrily. Kerry sinks back, her hips undulating as the onslaught of tongue and fingers drives her wild. She moves onto Leda’s lap to get rubbed to a frenetic climax, Leda’s fingers strumming her clit as she comes. From where I was sitting (very close to the action) it looked both artistic and sexy – an ideal SexArt scene, in other words!
After this, Leda interviewed Kerry for me – in Russian – as they had already built up such a close rapport. They were clearly having fun together, so I’m looking forward to the translation.
Andrej and Ariel Piper Fawn then gave me a tour of the brand new Team Lupin office, a very glamorous and impressive set-up in a stunning old building with a huge and well-equipped main office and multiple rooms for shooting. I’m so excited to see the work that is going to come out of this inspiring space. They then surprised me in a totally different way, with a trip to a traditional Czech restaurant, complete with topless and extremely busty waitresses! Czech people are very friendly and it was a super-fun way to end a hot and enthralling day. More from the set soon…
Day two on location near Prague with Team Lupin sees the arrival of the sunshine, and also gorgeous Russian babe Leda, who is a big star on our sister sites MetArt and The Life Erotic as well as here at SexArt. What a treat to watch her shoot her first girl-girl scene for the network!
Leda and Aria Logan look cuter than a basket of kittens as shooting starts for a scene with the working title of “Lazy Day.” The girls are relaxing on the bed; Aria is reading and Leda is brushing her hair, but they keep exchanging little glances and smiles, clearly very aware of each other’s presence. Aria takes over brushing Leda’s hair, gazing at her pretty girlfriend in the mirror. They wrap their arms around each other lovingly, Aria sliding her hand down between Leda’s thighs to touch her inside her sexy silk panties. I love to see this, being a bit of a panty fetishist, and let me tell you it looked as hot through the monitor as it did right in front of my eyes.
Leda watches in the mirror, starting to get as excited by the sight of her girlfriend touching her as by the sensation itself. Aria licks her fingers and smears the wetness over Leda’s clit, getting her even hotter. As Leda lies back and Aria’s fingers thrust inside her, her arousal visibly escalates, her breath coming in gasps and her pussy making sexy wet sounds. Aria moves on top of her in a sixty-nine, Leda finally getting to stroke and lick her sweet pussy – but Leda’s focus is interrupted by Aria fingering her to the most delicious, breathless orgasm, her thighs clamping shut and feet arching as she comes hard.
When she’s recovered a little, Leda kisses and sucks Aria’s nipples, then moves down to eat her pussy, smiling up at her with the most radiant expression. She plays Aria perfectly, leading her to the edge of orgasm several times before finally pushing her legs high and eating her to a powerful climax. It’s a scene that manages to be both hot and adorable, and I can’t wait to see it on screen.
Later Leda shoots a boy-girl scene with her real-life partner Bran; you’ve seen them in a couple of photosets here, but to see them in action is a whole new level of hotness! Meanwhile I am interviewing Aria; she is new to the world of movie-making and so she’s a little shy at first, but very, very cute. As she and Leda both find it easier to express themselves in their native Russian, I have the bright idea of asking Aria to interview Leda, and she does an awesome job – I’m curious to learn what they were telling each other, because they seemed to be having fun.
And then comes the most sensational bonus ever… the surprise arrival of my dream girl Tracy Lindsay! Tracy is not shooting with Team Lupin this week as she is busy studying, but Ariel invited her to come over just to do an exclusive interview for SexArt members. And oh my goodness, she is as beautiful, charming, funny and loveable as you could possibly imagine. Men and women go weak at the knees in her presence. She is also wonderfully honest and uninhibited when it comes to talking about sex, and opens up to the camera with such interesting revelations about her life and her sexuality – I think you will love it. Later I discovered the naughty girl even took some sneaky selfies on my phone! That was an amazing climax to my day, and after that it was time to celebrate with a night out on the town and some traditional Czech cuisine. More from the set soon, folks…
So, here I am in Prague – well actually Ricany, a small town outside Prague – and things are looking good. For starters, virtually the first person I see as I arrive on Czech soil is my gorgeous girl Ariel Piper Fawn, who has come to pick me up from the airport. It’s a grey, drizzly day, but it always feels like the sun is shining when you’re with APF!
There’s just time for a quick reunion with our SexArt director supremo Andrej Lupin and his wonderful team before filming begins with two lovely new Russian girls, Aria Logan and Kerry Cherry. Pretty 21-year-old blonde Aria has only been shooting movies for two months, and is so box-fresh it feels vaguely naughty to even be watching her… but you know me, I watched anyway!
The mood is one of hilarity rather than horniness as camera operators John Sweet and Qweedo Climber act out the action for the girls, to overcome the Czech-Russian communication problem. But things take a turn for the hotter when the girls take over. The working title for the scene is “Confession,” because sweet brunette Kerry is telling Aria something serious – like you, I’m going to have to wait for the subtitles to find out exactly what! But Aria finds a very effective way to cheer Kerry up, peppering her with soft kisses and sweet endearments. She teases by working her way – agonizingly slooooowly – down to Kerry’s pussy, fingering and licking her with increasing intensity. Kerry’s climb to orgasm is a long slow burn with a fiery finish. When she’s caught her breath, she kisses Aria all over, and Aria straddles Kerry’s face and rides to a frenetic climax. A very hot start to my trip!
After a chillout break, filming resumes: this time, a super-hot boy-girl scene called “The Pianist.” Aria looks sensational in a short, skintight white dress and platform heels that show off her long, tanned legs to perfection. Her attention is drawn to Matt Ice, who is playing the piano; as she begins to embrace him seductively, his playing significantly deteriorates! Before long he abandons the attempt altogether and turns to kiss her; she sits on his lap and he slides a hand up her skirt to stroke her pussy.
At this point, I should reveal that I’m sitting just a couple of feet away from the couple, with three cameras around me – John Sweet, John Humble and Qweedo Climber are all shooting, with Andrej directing – so I can see at least two monitors at all times, as well as the live action unfolding in front of me. It’s pretty intense! Aria bends over the back of the sofa so Matt can eat her, then frees his stiff cock from his pants and long-licks it. She sucks it deep, getting it wet before bending over again so he can thrust it into her. His strokes are vigorous. She grinds back against him, her pleasure building.
Matt takes a seat on the piano stool and Aria mounts him in reverse cowgirl, sliding all the way up and down on his cock and bouncing energetically. She is shaking with passionate arousal by the time they move into missionary, Matt pounding into her and making her climax hard, before anointing her with his creamy load. Whew! I can’t wait to see how this scene will appear on the screen, because from where I was sitting, it looked amazing.
After that, it was time for a fun night out in Prague… more soon, folks!
Although better known as one of our esteemed MetArt artists, photographer Albert Varin is also a regular contributor here at SexArt, with an unerring eye for fresh new talent, as well as a hotline to some of the Network’s most enduring stars, such as Ennu A, Tofana A and Macy B. Recently he has introduced two hot new rising stars, Ambre and Messiah, and he also shoots highly arousing and atmospheric boy-girl and girl-girl photosets. He enjoys interacting with members and discussing his work, so I thought it would be interesting to learn more about what inspires him…
Albert, where are you from?
AV: My great-grandfather lived in Germany, he was quite a wealthy person and a traveler. He enjoyed hunting and he kept a diary with illustrations. I guess because of his curious nature he came to Russia, where he got married and had eight daughters; one of them was my grandmother. Since then my family has lived in Russia. I was born in Moscow and I travel a lot. I think it’s in my genes from my great-grandfather.
What is your background in photography?
AV: Another passion of mine, aside from traveling, is painting and modern arts and crafts. I love new materials and technologies. One day I discovered digital photography. Before the digital era I shot on film and it didn’t excite me, it was more documentary-style shots. But with digital technology everything was taken to another level and I began to experiment, first with themes, then with color. I had a lot of models who wanted to see themselves outside the frames of their everyday life. Slowly my photographs became more and more erotic, so it happened quite gradually.
How long have you been creating erotic photographs, and what inspired you to start?
AV: During one of my trips to Prague I visited Saudek’s exhibition. I think it was in 2006, and back then I felt like Prague was full of electric erotic impulses. I brought back a lot of albums of erotic photography from that trip, as well as publications from Taschen with daguerreotypes, photos of Playboy models, Helmut Newton’s album, I studied them all.
Are you influenced by mainstream art, film and photography?
AV: I like elements of cinema in photographs, I like Fellini’s absurd, Tarkovsky’s frames. I also like open eroticism with notes of humor, like we see in Tinto Brass’ work. I was also quite inspired, like many others, by Zalman King’s ‘Wild Orchid.’ As for books, I read constantly, I like Borges, books with a mysterious storyline, philosophical literature. But philosophy, if you read it at night, is also a good sleeping pill. In painting, I love color and expression; in some of my photo shoots with models I have used my own paintings as the background.
You have been shooting for MetArt since 2010 and SexArt since 2012; how do you think your work has evolved?
AV: As much as I can judge my own work – in 2010 it was a hobby, but now it grabs me almost completely. I try to capture the feeling of the present moment, immediacy, as if the viewer can reach out and touch the model’s shoulder.
Is there a photoset you are particularly proud of?
AV: It’s hard for me to say. In all honesty, I like all my photosets, especially those that haven’t been published yet.
You have shot many of our new models in their ‘presenting’ photoset. What makes a good model?
AV: I love working with debutantes. It has a certain drive, it’s like opening a new book of poetry, or coming to a new city, where you’ve never been before. I pay attention to the temperament of the model, her grace, her movements, her sweet face. Her smile is very important for me. A good model has all these qualities. Another important thing is the model’s desire to present herself at her best: her excitement, her mood, her young spirit. This is what, in my opinion, makes the model interesting for the viewer.
Is there a model who inspires you the most?
AV: This is another difficult question. Of course there are models with whom I work very comfortably and we have fun. Not all girls are the same, some are quite chatty, laughing a lot, some are quite dreamy. For example Veselin is very lively and fun and it shows in her pictures, and Sigrid is more shy. But of course I love to work with them both. There are models that have become my friends, such as Subil A, who first posed for me and then decided to continue her career as a model.
Do you plan your shoots in great detail, or see how it evolves on the day?
AV: I plan my shoots, I try to think all the details through. I think that’s what makes the work easy. It doesn’t always turn out as I plan; sometimes shoots get cancelled, sometimes the weather interferes, or accidents happen – that’s life.
How about shooting movies?
AV: Most often I work with debutantes – non-professional models – and working with a video requires a model who has more self-control than for a photo shoot. Moreover, often models get shy in front of the video camera. But I do shoot videos when I meet models who enjoy it.
What are your ambitions for your work with the MetArt Network?
AV: My ambition is to continue being at the top, to bring a lot of exciting new models, and to publish on Errotica Archives. Perhaps I would like to release an album with Taschen or Goliath. I would also like to do a photo exhibition, perhaps with other artists from MetArt, I think it’s an interesting idea.
What do you hope the viewers get from your photos?
AV: I want to give the audience the intimate world that surrounds our favorite models. I am happy if I can convey their beauty, youth and playfulness.
Is there anything else you would like to tell us?
AV: I like that the audience is very large and each participant can look at my work. I always read the comments and I like controversy, I like the fact that my work pleases subscribers. Being popular is a damn good feeling. I particularly pay attention to the negative comments, and I am grateful for reasoning and specifications, because if I know the specific flaws, I can fix them in the future. We live in a big world, in different countries, with different traditions. Love of beauty, passion and inspiration for life – that’s what is understood by all: men and women, in the north and in the south, that’s what unites us. Let’s love, that’s what makes us happy.
About the author: SexArt member BlackWing has a Bachelor of Science in Health and Safety Education, minor in Physiology, and a Master of Science in Computer Science, Network Engineering Concentration. BlackWing is also a fully qualified and experienced paramedic and personal fitness trainer who enjoys outdoor activities, running, martial arts, teaching, mentoring, and hacking.
Part I of this series (published November 30th 2015) examined the cultural, etymological, and societal definitions of erotica and pornography. Part II (published January 27th 2016) examined the potential differences between these two as it may or may not apply to the professionals working in each industry. Part III of this series will now examine what role, if any, the consumer of adult film may or may not play in the delineation of what constitutes Erotic Film or Pornographic Film and concludes this series with open ended inquiries and investigations yet to be explored. The reader should be aware that although the information in this article is drawn from statistical analysis and data that is clearly published, and although there will be generalizations drawn, in no way is the information provided here intended to stigmatize, define, or stereotype any one group of persons, or industry as whole. The purpose of this article is to open a healthy debate regarding the differences and similarities between these two subjects.
Most scholars, researchers, psychologists, therapists, and even viewers will agree that on some level erotica does not appeal exclusively to just our carnal need for stimulation and desire. Erotica, and in particular Erotic Film, engages our aesthetic sense of how this or that human figure or figures demonstrates the ideal of human ‘beauty,’ and how such ‘beauty’ impacts our understanding and thus our expression of human sexuality. Perhaps this is why there is an increasing trend towards many Adult Film companies beginning to employ and use male and female models representing a myriad of body types, sizes, ages, ethnic origins, figures, and interpretations of sexual expression, sexual contact, and sexual relationships. There is an increasing push in the Erotic Film Industry to represent the characters honestly, particularly the women, with the skin flaws, scars and so forth that are inherent in just being human and living on this dangerous planet.
Having stated this obvious truth, there is one other category to take into consideration as it pertains to the differences between Pornographic Film and Erotic Film or Erotic Cinema and it is a subject that I have purposely not introduced until the end of this series: that of the expression of human sexuality and the expression of this in a physical sense either on camera or off between consenting adults. Before we begin to delve into this very complex, sometimes bewildering, and definitely perplexing subject, we need to do so by clearly stating what I am using as terminology for this article. For the purposes of clarity, the following definitions are drawn from the American Psychological Association of sex, gender, gender identity, and sexual orientation (American Psychological Association, 2011):
Sex refers to a person’s biological status and is typically categorized as male, female, or intersex (i.e., atypical combinations of features that usually distinguish male from female). There are a number of indicators of biological sex, including sex chromosomes, gonads, internal reproductive organs, and external genitalia.
Gender refers to the attitudes, feelings, and behaviors that a given culture associates with a person’s biological sex. Behavior that is compatible with cultural expectations is referred to as gender-normative; behaviors that are viewed as incompatible with these expectations constitute gender non-conformity.
Gender identity refers to “one’s sense of oneself as male, female, or transgender” (American Psychological Association, 2006). When one’s gender identity and biological sex are not congruent, the individual may identify as transsexual or as another transgender category (cf. Gainor, 2000).
Gender expression refers to the “...way in which a person acts to communicate gender within a given culture; for example, in terms of clothing, communication patterns and interests. A person’s gender expression may or may not be consistent with socially prescribed gender roles, and may or may not reflect his or her gender identity” (American Psychological Association, 2008, p. 28).
Sexual orientation refers to the sex of those to whom one is sexually and romantically attracted. Categories of sexual orientation typically have included attraction to members of one’s own sex (gay men or lesbians), attraction to members of the other sex (heterosexuals), and attraction to members of both sexes (bisexuals). While these categories continue to be widely used, research has suggested that sexual orientation does not always appear in such definable categories and instead occurs on a continuum (e.g., Kinsey, Pomeroy, Martin, & Gebhard, 1953; Klein, 1993; Klein, Sepekoff, & Wolff, 1985; Shiveley & DeCecco, 1977). In addition, some research indicates that sexual orientation is fluid for some people; this may be especially true for women (e.g., Diamond, 2008; Golden, 1987; Peplau & Garnets, 2000).
Now that we have established, for the duration of this article, the terminology that will be used, we can explore the relationship between the expression of sexuality (and its sub categories as defined above) and that of the subject of Erotic versus Pornographic film. Why is this important? It is important because, as with all media and its productions, the question we need to ask is, “Does the media content, (i.e. the film being produced, whether Pornographic or Erotic), reflect the realities of the world in which we currently live?” This is an important question because it is the consumer who in some ways will partner with, and can at times dictate, the types of films produced in either category (Erotica or Pornography). At the end of all discussion on the subject of the differences between the two genres, there is the reality that a profit will need to occur so that the participants involved can receive their financial compensation for their professional work. The reader will notice that I did not use the phrase “payment for services rendered.” This is because today, thankfully, both industries are taking immense strides in treating their people as qualified, competent, experienced, and skilful actors, actresses, technicians, producers etc. and as such, are treating them with much more respect and regard as the professionals that they are.
It needs to be noted and acknowledged by the professionals in both industries, as well as the consumers, that “…the question of how media representations of the social world compare to the external ‘real’ world also raises several issues.” In their book Media/Society: Industries, Images, and Audiences, Croteau, Hoynes and Milan put forward four very valid points: 1. Literature in media and cultural studies are not representations of reality because even if these are documentaries, they are crafted and edited by humans who will select and edit based on personal, known or unknown, biases and views, despite their best efforts to remain “true to reality”; 2. Media usually does not try to reflect the real world because, again, even if it is a documentary, “the limited time and resources” to present the piece will have significant impact on the final piece produced and distributed; 3. There is the issue of what defines the word “real” when referring to media representations, as clearly stated by the authors that, “In an age in which sociologists teach about the social constructions of reality and post modernists challenge the very existence of a ‘knowable reality,’ the concept of a ‘real’ world may seem like a quaint artifact from the past; and 4. Finally, media representations, particularly in both genres, as with all media and film, would suggest that representations of the social world should somehow reflect society at large. This is simply not the case, because film is used by many as an escape from reality, and because of this, “Gaps between media content and societal reality raise interesting questions that warrant our (the consumers’, the Professionals’, the Directors’ and the Producers’) attention” (Croteau, Hoynes, & Milan).
However, what is this ‘reality’ or this difference in media representations of ‘reality’ and societal constructs of ‘reality’ to which I am referring, and where does this come into play with the previous definitions of sex, sexuality, gender, gender identity, and gender expression as it pertains to this issue and the definitions of Porn versus Erotica? Why are all these seemingly unrelated topics important? These moving pieces/ definitions/ constructs are important because simply stated, sexuality, sexual expression, sexual relationships and the interactions of, expressions of, definitions of, and thus the portrayal of these human interactions are reflected in ‘real’ society; that is to say, an ‘average’ couple’s sexual interaction with each other, as well as what is portrayed in film, be it Erotic or Pornographic, is influenced by – as well as representative of – said pieces/ definitions/ constructs. Because of this fact, such a redefinition must include two concepts: person-based attraction and sexual fluidity.
In her book, “Sexual Fluidity: Understanding Women’s Love and Desire,” Dr. Lisa Diamond states that “Most people believe that a relationship starts out with physical attraction and then deepens into a more significant emotional, intellectual, or spiritual bond,” whereas in her research in following a group of women over a period of years, charting their changes in sexual desire, expression, attractions etc. she found that the opposite was true (Diamond, 2008). While Dr. Diamond’s study focused only on women, and while it is true that current research shows that for the most part, “men with open gender schemas were typically heterosexually identified individuals who sought periodic same-sex contact for purposes of sexual release…(and) women, by contrast, (with) open gender schemas almost always entailed falling in love with a particular person,” it is still the case that both males and females, can, and do, “fall in love with” or become “attracted to” a person rather than a gender (Diamond, 2008). Because this is the fact, and because there is a tenuous link between the portrayal of said relationships in the media, and the media’s portrayal of said relationships as they appear in society, it follows that Porn and Erotic Film must and will change in order to take advantage of this two way link for the purposes of ‘staying in business.’ After all, at the end of this discussion Erotic Film and Pornographic film are both a part of the Adult Industry and as such, like any industry, it must make a profit in order to survive, so as to engage in the more advanced and esoteric ambitions of creativity and ‘art expression.’ To understand this relationship, all participants involved in the making and consuming of these genres, whether they realize it or not, experience two different types of sexual desire: Proceptivity and Arousability. “Proceptivity,” Dr. Diamond states, “or lust, can emerge spontaneously across a variety of environments and so can be thought of as situation independent,” whereas Arousability is situation dependent, i.e.:
A straightforward example of proceptive desire would be a general feeling of “horniness” that might emerge for no particular reason. The defining characteristic of proceptive desire is that it is highly motivating and often prompts individuals to seek sexual gratification. Arousability is quite different. It represents a person’s capacity to become interested in sex as a result of encountering certain situations or stimuli (such as the sexual advances of an attractive partner), even if the individual did not initially feel sexually motivated. The defining characteristic of arousability is that it is triggered by external cues or situations. As such, it can be thought of as situation-dependent [emphasis added] (Diamond, 2008).
Why does it matter whether the experience of a person or persons is an attraction based on proceptivity or arousability? It matters because inherent in all human beings is the longing to celebrate the varieties of sexual bliss, and the universal need for the human touch which can be found in participation in a carnal union. If this statement is true, then it follows that there has to be a re-defining, or at the very least a re-examination of the very definitions of sex, sexuality, gender etc. Toward this end, again, Dr. Diamond proposes a new model for defining, quantifying, and understanding sexuality and thus the expression of, and the engagement of, this one, uniquely human trait. She defines this new model as “A Dynamical Systems Approach to Sexuality” (Diamond, 2008). Please forgive me as I very purposely use a long excerpt from Dr. Diamond’s book, because I believe it to be vital that the reader grasp the concept of the Dynamical Systems Approach she is proposing and how relevant it is to the understanding not only of the diversities of Porn versus Erotica but also of human sexuality and sexual expression. There are two excerpts below. The first is cited from Dr. Lisa Diamond and the second from Dr. E. Thelen and Dr. L. B. Smith whom Dr. Diamond cites in her publication:
Dynamical Systems Models were originally developed by mathematicians and physicists to explain physical phenomena whose states varied over time, for example, swinging pendulums or cloud formations in the atmosphere. They analyze the multiple factors that determine the state of the system, to predict its pattern of change over time, which otherwise might seem random, arbitrary, and abrupt. In the late 1980s, a number of forward-thinking psychologists observed that the development of many complex human phenomena during infancy and childhood – such as language and motor skills – resembled dynamical systems. Specifically, they were characterized by periodic, abrupt, unpredictable spurts in skills and behaviors, contrary to classic models….
Dynamic Systems Models reject this idea, emphasizing instead that a person’s initial traits and subsequent environments are in constant, mutually influential interaction with one another, and that they come to progressively influence one another over time. As a result, you enter into each person-context interaction a slightly different person from the one you were at the last interaction. All your experiences are fundamentally shaped by what preceded them and set the stage for what follows.
As the psychologist Esther Thelen summarized with respect to child development (Diamond, 2008):
How a child behaves depends not only on the immediate current situation but also on his or her continuous short and longer-term history of acting, the social situation, and the biological constraints he or she was born with. Every action has within it the traces of previous behavior. The child’s behavior, in turn, sculpts his or her environment, creating new opportunities and constraints’ (Thelen, 1994).
Essentially, what Dr. Diamond is proposing is something those in the Adult Industry, both actors and actresses, as well as Producers, Directors, technicians and the like, have known for years, and it is a distinct reason as to why the industry has been around for hundreds of years in one format or another: Sex, sexual attraction, sexual orientation, gender identity, gender expression, and even to some extent, gender itself, are “initial traits” which we, being human, are exposed to different, “subsequent environments,” and these two factors “are in constant, mutually influential interaction with one another” which will “progressively influence one another over time.” Because of this fact, we will move from one “person-context interaction” to the next, “a slightly different person from the one (we) were at the last interaction.” In short then, all of our “experiences,” indeed our very existence living, breathing, and interacting with one another, “are fundamentally shaped by what preceded them and set the stage for what follows” (Diamond, 2008). The Adult Industry not only is aware of this fact, but in some sense, is a mirror reflection of, an active contributor to, and an influencer of, this very fact.
So then, what are the factors which create both stability and change in sex, sexual expression, sexual interaction, and sexual gratification and how can we better understand these factors so as to predict when they might possibly occur and why are we interested in Adult Entertainment? We are interested in this topic because of the above stated facts that film/media both reflect and influence, at the same time, the human condition. If this is the case then it stands to reason that Porn and Erotic film are going to both influence and reflect the participants and the consumers; and as such, all parties bear, whether they will accept it or not, equal responsibility in ensuring that such an influence is for the good of each party. Why?
It is increasingly clear that one of the ideas behind Erotic Film is to transcend its provocative subject and in so doing to add a third element or dimension: that of longing to celebrate the varieties of sexual bliss, and the universal need for the human touch which can be found in participation in a carnal union. Such a union may, in fact, carry deep within its caresses and/or expression, a hint of the divine: a divine, spiritual and metaphysical, as well as intangible and incorporeal, which exists in all human souls. An erotic film in most cases, for producers and participants, attempts to portray a perception of the human attraction between the participants, and the potential ecstasy that humans, through sexually joining, can share. Such a shared experience will not grow old, or become stale over time, whereas pornographic images generally do and as such tend to lead toward the more addictive behaviors exhibited by those who view such films and whose brazen and unashamed goal is simple and straightforward: titillation and immediate, intense arousal to cause an instantaneous stirring of the genitals. This is not to say that porn is either bad or good. It is merely an attempt to both quantify and qualify the reasons why both exist.
Admittedly, Erotic Film may wind up having the same effect on the viewer as was stated above. After all, it is the viewer of the film who is given the task of interpreting the final production. However, pornographers, and pornographic producers more often than not are far less motivated by the desire to faithfully represent what they may regard as beautiful or aesthetic. Rather, their undertaking is contrived to produce what they believe will turn the largest possible profit, (as always, stereotypical statements notwithstanding). Additionally, pornography is primarily a money-making venture. The very word porn, as stated at the beginning, invariably connotes a certain exploitation – at times degradation or desecration – of human sexuality. Many writers, producers, and Adult Film professionals and workers, (particularly feminists) have rightfully complained that when pornography, by objectifying women, reduces them to sex objects whose core value is to satisfy a man’s libidinous needs, it has bordered on the obscene and crossed the line from art to that of a simple sex transaction. Furthermore, when care, concern, tenderness, warmth, emotion, and feeling are all allowed to be presented, and indeed, strongly encouraged as being a part of the final outcome in the production of Erotic Film, said film will portray its subjects in a manner that accentuates and highlights their inner and outer radiance, and the work itself will appear to manifest a passionate and powerful affirmation of life and the pleasures of this world. Pornography, on the other hand, may be seen as being derogatory, exploitative, and almost barbaric in its egoistic lack of caring and concern. Pornography then, by its word definition, can be, in many cases, portrayed as literally sex without relationship.
It is this distinction which brings me to my final point: it is the human interaction, in other words the relationships which are built in the Erotic Film industry between the professional models participating in the film and the producers and technical professionals aiding in the completion of the final product, which may ultimately define the distinction between these two concepts.
Erotica and its sub category Erotic Film delve into how sex is a natural expression of and desire of being human and an expression of coupling which includes the sensuality of human touch, and that the sensation of this type of touch may be, for some individuals, necessary to their (our) very existence. It is part of a much larger, complex, interesting, and fuller, sensation and deeper story. It’s normal. It is just the act of ‘lovemaking.’ Review any Adult Erotic Film in which the relationship between the actors/actresses is clearly tender, endearing, caring, and involving mutual respect and warmth. The scenes and images will be diverse to be sure, yet there is always the underlying element of sensuality, sensitivity, affection and passion. In a truly Erotic Adult Film where all parties are willing participants, there is an acceptance and melding of bodies, nerve endings, and emotions which is readily portrayed in the final product and is an inescapable truth inherently seen by the viewer. The viewer may not know why he or she prefers this product over another film which is produced only for money and at the possible expense of its professional models; but they may instinctively recognize the difference, however subtle this difference may be. To quote Gloria Steinem:
There is always a spontaneous sense of people who are there because they want to be there out of shared pleasure… Now look at any depiction of sex in which there is clear force, or an unequal power that spells coercion… It may be very blatant… It may be much more subtle… In either case there is no sense of equal choice or equal power… The first is erotic: a mutually pleasurable, sexual expression between two people who have enough power to be there by positive choice… The second is pornographic: its message is violence, dominance and conquest. It is sex being used to reinforce some inequality, or to create one…”
The line between erotica and pornography can be extremely difficult to draw, as we have seen. One person’s erotica can be another person’s pornography. Yet, the real issue may be to discover what it is that promotes healthy sexuality, versus what depicts people as mere expendable sex objects who are only here to gratify our animalistic urges without any thought to their wellbeing as living, breathing, sentient, and ultimately, sexual, beings; beings who are to be respected, revered, and cared for as a unique creation and extension of our whole human existence. Pornography in the form of monetary exploitation of its workers will continue to be made as long as the public buys this product. Ultimately, if we believe there to be an abuse, debasement, and desecration of the individuals involved in the making of the product, by choosing not to use their services – and also by choosing not to pirate from free sites those films we actually DO believe to be Erotic Film – only then can we ensure that both the viewer and the individuals on screen have an erotic experience instead.
American Psychological Association (2011). sexuality-definitions.pdf. Retrieved January 24, 2016 from www.apa.com: https://www.apa.org/pi/lgbt/resources/sexuality-definitions.pdf
American Psychological Association (2006) Guidelines for Psychological Practice with Lesbian, Gay, and Bisexual Clients Retrieved February 17, 2016 from www.apaoutside.org: http://apaoutside.apa.org/PubIntCSS/Public/pdfs/Guidelines-for-Psych-Practice-with-LGB-Clients.pdf
Gainor (2000) Gainor, K.A. (2000). Including transgender issues in lesbian, gay, and bisexual psychology: Implications for clinical practice and training. In B. Greene & G.L. Croom (Eds.), Psychological perspectives on lesbian and gay issues: Vol. 5. Education, research, and practice in lesbian, gay, bisexual, and transgendered psychology: A resource manual (pp. 131-160).
Kinsey, Pomeroy, Martin, & Gebhard (1953) Sexual behavior in the human female. Philadelphia: W. B. Saunders.
Klein (1993) The bisexual option. (2nd ed.). New York: Harrington Park.
Klein, Sepekoff, & Wolff (1985) Sexual orientation: A multivariable dynamic process. Journal of Homosexuality, 11(1/2), 35-49.
Shiveley & DeCecco (1977) Shively, M.G., and DeCecco, J.P. Components of sexual identity. J. Homosexuality. 1977;3:41-48.)
Diamond, L.M. (2008). Sexual Fluidity: Understanding Women's Love and Desire. Harvard Press.
Golden (1987) Diversity and variability in women’s sexual identities. In Boston Women’s Psychologies Collective (Eds.), Lesbian psychologies: Explorations and challenges (pp. 19-34). Urbana: University of Illinois Press.
Peplau & Garnets (2000) Issues in psychotherapy with lesbians and gay men: A survey of psychologists. American Psychologist, 46, 964-972.
Croteau, D., Hoynes, W., & Milan S. (2008) Media/Society: Industries, Images, and Audiences.
Thelen, E.A. (1994). A dynamic systems approach to the development of cognition and action. Cambridge, MA, USA: MIT Press.
Steinem, G. (1978) Erotica and Pornography: A Clear and Present Difference. Ms. November 1978, p. 53-54.
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