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Die "drei schöne Dinge heute" - Liste Wie empfindet ihr das älter werden? I draw from a variety of films created in commercial and artisanal contexts, purchased both from art house distributors and adult bookstores.
My choice of titles is not representative; they constitute a few of many possible examples. When reliable data is available or provided by distributors, I have indicated the year of release or production in parentheses at first mention of the film's title.
Of the many tongues through which pornography speaks the unspeakable, animation is arguably the most articulate and audaciously vulgar.
Within the vast corpus of pornographic cartoons, animated bodies can perform every desire and fantasy that the human body cannot utter.
Relentlessly and with impunity, the animated body's plastic genitalia and invulnerable orifices grow and multiply, mutate and mutilate, probe or are penetrated by every imaginable object and animal.
Sexual boundaries assume the solubility of water colors and, unlike the wages of evil that are didactically visualized in mainstream cartoons, the moral consequences of the animated body's unbridled promiscuity are often rendered invisible, like the sheets of acetate upon which they are drawn.
Immune from the stigmas of disease, exploitation and unintended procreation that haunt their counterparts in live-action porn, the bodies in animated pornography also function as the ultimate prophylactic for the expression of human and non-human sexuality.
But even if the telos of the animated body is acceptably oriented towards the task of perpetual coitus, its sexualization is decidedly no less 'pornographic' and transgressive than live-action pornography.
One obvious reason is the intimate association between the medium of animation and the iconography and culture of childhood.
Animated pornography represents the intrusion of obscenity into a domain in which sexuality is most vigorously denied. Part of the pleasure of animated pornography is the vicarious reclamation of that sexuality, achieved through a mischievous appropriation of the symbols of childhood.
When, in a Germanlanguage animated short, a mouse that suspiciously looks like Jerry of "Tom and Jerry" fame impales a Daisy Duck knock-off, the spectator takes pleasure in several overlapping transgressions, the least serious of which being the triumphant infringement of copyright.
Indeed, it is within the liminal space of animated pornography-where spectators are positioned simultaneously as both adults and children-that one may most successfully experience the range of feelings suggested by Freud's idea of the primal scene.
Watching a defiled Daisy Duck experience sexual pleasure evokes, if only for a fleeting moment, the repugnant curiosity and paralyzing fear behind a child's desire to access the site of parental copulation.
It is also activated by the very image and sound of the animated character's bodies, which are often marked as both childlike and adult.
The ability of these liminal, drawn, painted or sculpted 'bodies' to elicit responses from the bodies of their spectators, whether in the form of shivers at their Oedipal adventures or fits of laughter at their outrageous transgressions, indicates both or recognition of the corporeality of these bodies i.
This dynamic gets complicated when we think about animated pornography because it involves the constitution and disposition of what I shall conceptualize as the 'animated body'-the body whose appearance is that which produces pornography and yet which is also, simultaneously and fundamentally, often nonexistent.
Questions of the body are central to understanding both pornography a cinematic mode that attends the body's disposition in sexual contexts and animation a cinematic mode that attends the mimicry of human motion in non-human plastic bodies.
In animation, the presence of the animated body evokes the 'real' body whose essence and movement it mimics or stylizes; in many though certainly not all respects, spectators appraise and evaluate animated bodies in terms of real ones.
Moreover, our locus of identification with animated bodies is often grounded in the fiction of our common possession of bodies: thus, when Wylie Coyote falls of a cliff with a pound anvil in his hands, we cringe because we realize that yet another body is consigned to the routine of destruction.
The presence of the animated body in sexual congress evokes not only the issues attending the surplus of bodies and sexualities but also, in many ways, the 'real' bodies displaced from the frame but nevertheless haunting its margins.
In short, the pleasures and ethics of animated pornography are inevitably mediated and understood by and through those of live-action pornography.
Hyperbole, pornography's principal mode of enunciation, also lies at the crux of animation's aesthetic. In all kinds of pornography, big is always better: broad acting, big groans, melonsized breasts, footlong schlongs, voluminous ejaculates, and global gang bangs.
Similarly, in animation, much is overstated: facial features and body parts are hypertrophied, gestures are exaggerated, doses of violence are administered in extremes, sound and visual cues are magnified, and production numbers are rendered in over-the-top fashion.
When animation meets pornography, the fusion of hyperbolic sex and hyperbolically drawn cartoons produces more than the sum of their parts.
For instance, not only is animated pornography capable of producing sexualities that cannot exist i. Predictably enough, this hypersexuality is represented literally by the presence of multitudinous and massive genitalia.
Phallic shapes and, less frequently, yonic forms abound in backgrounds, landscapes and objects. The witch in Schwänzel und Gretel Dickzel and Gretel , for instance, tends a garden of penis asparagus which she nourishes with freshly squeezed breast milk , lives in a house that has a penis for a chimney and tiny labias for roof shingles.
She pumps milk out of an unusual artesian well that masturbates a big disembodied penis to draw white fluid.
With every gush of water from the phallic milk dispenser, every burst of smoke from the penis-shaped chimney, her desire is concomitantly over stimulated, thus making her predation of our youthful protagonists both inexorable and understandable.
As in live-action pornography, animated pornography celebrates excess while at the same time negating it, since nothing is ever enough.
The consumption of pornography implants perversities from its perpetually expanding and inexhaustible catalogue of bodies and sexualities, manufacturing desire not primarily for sex but for even more pornography.
However, in live-action pornography-but not in animated porn-problems of supply constantly expose the finitude of its 'pornotopia': not everyone consents to making pornography, no matter how great the demand may be, and laws pertaining to the disposition of the human body limit the pornographies created with them.
It may even be argued that the relentless and unrivaled generation of this surplus of sex and sexual images is the primary sources of animated pornography's jouissance the unfathomable jubilation it engenders in the same way that the tireless kineticism and unabashed explicitness of live-action pornography's sexual routines serves as the ultimate wellspring of its joy and appeal.
This may explain, for instance, the spectator's delight in viewing Pimper Power, an animated short that offers no narrative pleasure but an exhaustive visual exploration of every possible sexual situation involving two couples, a house, its contents, and then some.
The TV automatically switches back and forth between pornographic programs, showing, for example, a woman who brushes laundry against a washboard and ends up masturbating while getting sexually penetrated from below by a disembodied penis.
New characters drawn in different illustration styles appear intermittently in non-diegetic, surreal sexual situations.
The disembodied head of a maestro plays sexual music on a piano and later jumps into the realm of another cartoon couple to administer cunnilingus on one of the 'diegetic' women.
A couple of breasts emerge out of ice and sit beside chilled fruits, including, not insignificantly, pears and melons.
A woman performs jumping jacks but instead of clapping her hands, she reaches for a penis suspended from the wall. A man draws an endless spool of thread from one of the two women's pubic hair.
To be sure, a lot of the humor of Pimper Power and similar works derives not only from the depiction of imaginative im probable acts but also from delight at the sheer energy and sense of possibility that propels its creative sexuality.
In animated porn as in a utopian society, sexual orientation is often seen as fluid. More often than not, homosexual, bisexual or even bestial sex acts are not permanently attached to the sexual orientations of the characters.
Just as infancy is posited by Freud as a period of polymorphous sexuality, so too does animated pornography exist within a state and space of sexual liminality-something not enjoyed by most live-action pornography and porn actors who are constructed and marketed in such rigid categories as tops, bottoms, sadomasochists, bisexual, butch, femme, fat, granny, etc.
It is not surprising, then, that a dragon impales a duck 'doggie style' in Odysseus und die Konigin van Pornos Odysseus and the Queen of Pornos and that Eveready Harton in Buried Treasure's titular penile protagonist engages in bestiality and homosexual penetration without being marked specifically as homosexual in the film.
Of animated bodies that are hypersexualized and polysexual, extreme promiscuity is expected. When bodies come together in the visual field of animated porn, they almost always precipitate a sexual transaction, even between the unlikeliest of sexual partners.
Such is the case when the famous protagonist of El Pichote dela Mancha finds himself alone with his sidekick, Sancho Panza. Panza obliges and ends up stroking his friend to full erection.
Before they get too intimate with each other, two distraught women with chastity belts and bearing keys to them show up from out of nowhere and request service.
Predictably enough, when animated bodies come together in groups, they end up in orgy. In fact, so strong is the tendency towards orgy in animated pornography that it might as well be an obligatory feature.
In some films, like Freibeuter der Mäsen Pirate of Cunt , a wild sea adventure featuring appropriated American cartoon characters, the gang bang is woven carefully into the plot: Porky Pig and Bugs Bunny rescue an island from the designs of the evil Captain Pisscums.
When victory is attained, the seafarers barter treasures for women. A very politically incorrect orgy ensues, including, predictably enough, Bugs in a threesome and pirates chasing a voluptuous Black native while shouting, "Come here, my sweet savage, and have a taste of civilization!
Of course, not all films bother to 'justify' their orgies through plot points. The hypersexuality and polysexuality of animated pornography is predicated upon an actual lack of sexuality.
In theory, one could speak the gravest taboos in animation because animation, like child's play, is nothing at all; animated bodies are only virtually corporeal.
One may thus think of this hypersexuality as built-in overcompensation for an intrinsic and fundamental short-circuit in the representational program of animated pornography-in the same way that, as Linda Williams argues, live-action pornography employs an excess of groans, ejaculates and sexual acrobatics in order to make up for its essential inability to represent female sexual pleasure.
Does the word 'animated' in 'animated pornography ' bracket the pornography it purports to offer? The answer is necessarily complex.
While the term 'pornography' 'writing about prostitutes' is rooted in oral, gestural and verbal traditions from ancient experience, I believe that the invention of photography and cinematography, and their use in making pornographic images, constituted both a limit and a flash point that redefined pornography as a product of real bodies.
Like the female torso-in-the-meat-grinder that appeared on the cover of Hustler, the imaginary children impersonated by law enforcers at chat rooms, or the fictive children in pedophile oriented fiction and virtual pornography, the bodies in animated pornography possess a phantom status that is arguably substantial and real enough to become the subject of angry protests and serious lawsuits.
Instead, I should say that animated pornography proffers the illusion of a transgressive hyper and polysexuality legitimized by the discursive im materiality of the animated body and managed by the legal cultures surrounding their creation.
These cultural and legal complications lead to another important but often unnoticed paradox of animated pornography: that in a medium associated with childhood, the figure of the child is most notably missing, appearing only by proxy, transference or association.
As is true of nonsexual animation, the style of figuration and the medium employed in creating animated figures colors the nature of the animated body, suggesting its expressive possibilities, and determining the meanings generated by its placement within and outside the diegesis of an animated film.
For instance, the Quay Brothers' use of industrial debris and mechanical puppets is particularly effective in evoking totalitarian regimes and conjuring nightmarish visions of the modern apocalypse in films such as The Street of Crocodiles Similarly, Sheldon Cohen's evocation of crayons and his childlike illustration style in The Sweater not only complements the joyful simplicity of author Roch Carrier's childhood reminiscence, but also finds a perfect visual texture to represent the evanescence of memory.
The medium, process and style of animation also allow animators to convey tone, position their audiences, and even mark the targets of their transgression.
The predominance of pornographic cartoons drawn in the style of American studio animation may thus be understood not only as a practical and appropriate choice but also -depending on one's interpretation-as a potentially subversive one.
Some may see the emulation of mainstream cartoon aesthetics as a rather transgressive attempt to simulate and occupy a cultural form coded for children.
Others may argue that this transgressive edge is effectively blunted when these 'threatening' sexualities are grafted onto cute, silly, pastel-colored animated figures.
To be sure, cel animation, while closely identified with studio animation and a childlike aesthetic, is a much more supple medium, as demonstrated by the long and vibrant history of avant-garde and political works in American independent animation and Western and Eastern European animation.
When used in making pornography, alternative cel animation aesthetics not only seem equally suited for representing adult subjects but are even more significant for their resonances to the history of erotic visual art.
For instance, Pimper Power draws extensively from the conventions of expressionism, Japanese erotic prints shunga , commercial illustration, and cubism, among others.
Its fugue of sexual scenarios and eclectic visual style draws connections between animated pornography, modern 'marriage manuals' and older pillow books, suggesting not so much a common didactic or instructional strain but, more interestingly, a common exploration of the plasticity of sexuality and the body through the mediation of infinitely plastic bodies.
Cel animation may also be employed to create unmistakably adult bodies in a realist and surrealist manner that draws from the language of such adult-identified traditions as technical and commercial illustrations, and studio art.
In Crocus , Suzan Pitt Kraning employs a visual style reminiscent of Victorian print illustration and commercial line art to evoke a modern woman's fantasy world of muscled men, sensuous butterflies, overfilled apartments.
Pitt Kraning's plotless erotic reverie uses animated erotica as if it were an adult woman's moving paper doll-modern surrogates for enacting fantasies and representing dreams, extensions of an adult woman's body and her imagination.
Similarly, Gary Moore, in Armchair Inventions , exploits animation's ability to simultaneously render bodies in both realist and fantastic ways in order to capture the texture of adult sexual dreams.
In images and plot points that imbricate eros and thanatos, the woman in the magazine pops out of the print world, turns into a tomato, and inserts herself into a pinball machine.
The man tries to play with her or for her through the machine, but when he successfully hits the target her vagina , she turns into a skeleton and he, mortified, devolves into a tomato.
Moore's employment of human bodies that transform into machines or are interchangeable with them not only utilizes animation's unique ability for metamorphosis and predilection for surrealism; it also gestures significantly, reflexively, towards the nature of the animated body as a mechanized human prosthetic.
Predictably, animated bodies created as objects with a tangible existence evoke an even greater affinity to human bodies than two dimensional forms of cartoons; they possess a gravitas that comes only from having an actual even though nonhuman body.
Like human bodies, wooden puppets or clay figures are vulnerable, able to register distress, subject to the laws of physics, occupy space, etc.
Moreover, the materiality of their bodies better parallels the range of meanings that human bodies can generate.
In Karl Krogstad's Jack in the Fox , characters with clay bodies are endowed with human characteristics that are denied to characters with hard plastic bodies.
The soft and flexible sensuality of the clay figures contrasts with the hardness of the dolls' plastic bodies. When the clay figures engage in coitus, their bodies writhe poetically, unlike the harsh, jerky motions of the 'depraved' plastic dolls who twist erratically and hump with strong, clumsy force.
Jack, turned off by the sexual excess of the group grope, leaves the scene. He is followed and consoled by his wayward lover, a red-haired woman, after she extricates herself from the dog pile of copulating bodies.
The film's unsubtle treatise on promiscuity suggests a Biblical significance to the clay figures' materiality:like human flesh, clay is corruptible, and the first human body was fashioned with clay.
For all their fragility and inherent 'human sinfulness', however, clay bodies are posited in the film as superior to plastic bodies precisely because their emulation of flesh carries with it a concomitant imitation of the human conscience.
The clay-bodied Jack and his lover abandon the orgy because, unlike the others, they strive to be truly human. The plastic and rag dolls, on the other hand, revel in 'sinful' depravity because they are less analogous to the human body and thus, by extension, to the human person.
More importantly, the dolls suggest not characters but real toys; thus, when they mate promiscuously they come dangerously close to representing the tabooed sexuality of the children to whom they belong and whose sexual energies were transferred to them in the process of child's play.
When Raggedy Andy and a cute infant plastic doll hump, they conjure, by proxy, the image of children in sexual situations. Even more disturbing, the tattered, abandoned, and somewhat distressed look of the dolls suggests the absence of an owner-a human body-whose presence remains unaccounted for.
The example of the dolls in Jack in the Fox suggests that their possession of a body-even a nonliving one-concomitantly carries with it the potential for producing actual pornography.
Whether they behave as proxies for humans or as lifeless possessions, their participation in the fabrication of erotica constitutes what could be described as object pornography.
Their emplacement within the pornographic field endows these objects with a sexual intentionality that seems to draw energy from the absorption of sexual desires projected upon them by their owners.
Conversely, their suitability for making pornography issues from a sexual meanings and energies gained from their immersion in a world that is innately steeped in sexuality.
Put alternatively, when used to make porn, these animated bodies acquire a sexual purpose; corollary to this, they are useful for making porn precisely because they already, intrinsically possess a sexual intentionality.
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Haus schätzen lassen So geht es ohne Kosten. More often than not, homosexual, bisexual or even bestial sex acts are not permanently attached to the sexual orientations of the characters. Buried Treasure's Eveready Harton's hyperactive penis is snapped off by a crab and pricked by a cactus. In Karl Krogstad's Jack in the Foxcharacters with clay bodies are endowed with Dr Tv characteristics that are denied to characters with hard plastic bodies. Sie hat sich entschieden! Before they get too intimate with each other, two distraught women with chastity belts and bearing keys to them show up from out of nowhere and request service. Quickie: 10 Tipps für die schnelle Nummer. Schutzmasken ausverkauft? Powerbegleiter durch den Tag. Such is the case when the famous protagonist of El Pichote dela Mancha finds himself alone with Hans Buschor sidekick, Sancho Panza. Das Geheimnisvolle Kochbuch Stream draw from a variety of films created in commercial and artisanal contexts, purchased both from art house distributors and adult bookstores. Hardcore Vibesp. Dieses Trendpiece lieben die Französinnen gerade. Ahnungslose Milf mit schlaffen Eutern und schon im Netz. Amateur Rollenspiele. Bikinis und Badeanzuege. Feuchte Slips und Fotzenhaare. Karin Tietze Ludwig Amateur Deutsch. Geile deutsche Ladys und mit jedem Kommentar werden es mehr. Mehr Wert wird auf die Ausgestaltung der Stories und den grafischen Erfindungsreichtum gelegt. Userfreunde Trödelhalle und Bea. Blowjob Anal Deutsch Amateur. Schwänzel Und Gretel Die Pornonamen-Challenge: Lachen verboten Video
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Pech gehabt! Powerbegleiter durch den Tag. Auf dem Weg zu Null Emissionen. Schutzmasken ausverkauft? So kannst du einen Mundschutz nähen.
Kräuter pflanzen: So machst du es richtig. Haus schätzen lassen So geht es ohne Kosten. Reise stornieren Wie bekomme ich mein Geld zurück? Gute Hörbücher Das Richtige für jeden Geschmack.
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Horoskop Diese Sternzeichen beflügelt die Jungfrau-Saison ab dem Maya-Horoskop: Was besagt deins? Liebe Sex Lustige Pornotitel — wetten, du lachst?
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Zurück Weiter. Lustige Pornotitel — Edward mit dem Penishänden. Tolle Preise zu gewinnen! Jetzt anmelden Shopping-Newsletter. Nicht cool! Abo lesen, Vorteile sichern.
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Ich komm einfach nicht los 47 bis 49 Jahre Altersunterschied, wie denkst Du darüber? Sex mit Geschäftsmännern Was will er nur? This long and productive tradition of making cartoon porn is built on a premise that can either seem especially sensible or dangerously perverse.
Those of us who grew up associating cartoons primarily with children might find the sexualization of Bugs Bunny and Minnie Mouse quite disturbing.
But if we see cartoons as a medium for all ages-one that, aside from entertaining kids, is routinely used to teach foreign languages, explain various procedures, describe bodily functions, and map out strategies for sports and battles-then we would have no problem linking animated porn to allied traditions of erotic illustration, including pillow books, marriage manuals, and more recently, the '10l sexual positions' flyers being hawked to tourists in Times Square.
Whichever of these two stances we might take, it is intriguing to note that both are preoccupied with the ethics surrounding the disposition of bodies that are fundamentally unreal-bodies that are imaginary, fabricated, virtual, animated.
One stance is premised upon the notion that the cartoon bodies in animated porn evoke, if not represent, the bodies of real children; thus, the disposition of animated bodies in erotic situations is deemed ethically problematic.
The other stance takes the precise opposite view, and proceeds from the assumption that eroticization is but one of the many things that can and should only be done with animated bodies, precisely because they are immaterial.
This ethical contest over unreal bodies is a manifestation of just how central the body is to the three major elements that comprise animated porn, namely: the cinema, animation and pornography.
Very little has been written that explicitly links all three elements together. Karl F. Cohen's Forbidden Animation: Censored Cartoons and Blacklisted Animators in America is the closest to a book-length study of this long-lived subgenre of animation and pornography, though very little of it specifically concerns animated porn.
In this exploratory study, my goal is to explicate animated pornography by teasing out the relationship between the three elements within animated pornography film, animation and pornography and the body, the one register that links all three together.
I draw from a variety of films created in commercial and artisanal contexts, purchased both from art house distributors and adult bookstores.
My choice of titles is not representative; they constitute a few of many possible examples. When reliable data is available or provided by distributors, I have indicated the year of release or production in parentheses at first mention of the film's title.
Of the many tongues through which pornography speaks the unspeakable, animation is arguably the most articulate and audaciously vulgar.
Within the vast corpus of pornographic cartoons, animated bodies can perform every desire and fantasy that the human body cannot utter. Relentlessly and with impunity, the animated body's plastic genitalia and invulnerable orifices grow and multiply, mutate and mutilate, probe or are penetrated by every imaginable object and animal.
Sexual boundaries assume the solubility of water colors and, unlike the wages of evil that are didactically visualized in mainstream cartoons, the moral consequences of the animated body's unbridled promiscuity are often rendered invisible, like the sheets of acetate upon which they are drawn.
Immune from the stigmas of disease, exploitation and unintended procreation that haunt their counterparts in live-action porn, the bodies in animated pornography also function as the ultimate prophylactic for the expression of human and non-human sexuality.
But even if the telos of the animated body is acceptably oriented towards the task of perpetual coitus, its sexualization is decidedly no less 'pornographic' and transgressive than live-action pornography.
One obvious reason is the intimate association between the medium of animation and the iconography and culture of childhood. Animated pornography represents the intrusion of obscenity into a domain in which sexuality is most vigorously denied.
Part of the pleasure of animated pornography is the vicarious reclamation of that sexuality, achieved through a mischievous appropriation of the symbols of childhood.
When, in a Germanlanguage animated short, a mouse that suspiciously looks like Jerry of "Tom and Jerry" fame impales a Daisy Duck knock-off, the spectator takes pleasure in several overlapping transgressions, the least serious of which being the triumphant infringement of copyright.
Indeed, it is within the liminal space of animated pornography-where spectators are positioned simultaneously as both adults and children-that one may most successfully experience the range of feelings suggested by Freud's idea of the primal scene.
Watching a defiled Daisy Duck experience sexual pleasure evokes, if only for a fleeting moment, the repugnant curiosity and paralyzing fear behind a child's desire to access the site of parental copulation.
It is also activated by the very image and sound of the animated character's bodies, which are often marked as both childlike and adult.
The ability of these liminal, drawn, painted or sculpted 'bodies' to elicit responses from the bodies of their spectators, whether in the form of shivers at their Oedipal adventures or fits of laughter at their outrageous transgressions, indicates both or recognition of the corporeality of these bodies i.
This dynamic gets complicated when we think about animated pornography because it involves the constitution and disposition of what I shall conceptualize as the 'animated body'-the body whose appearance is that which produces pornography and yet which is also, simultaneously and fundamentally, often nonexistent.
Questions of the body are central to understanding both pornography a cinematic mode that attends the body's disposition in sexual contexts and animation a cinematic mode that attends the mimicry of human motion in non-human plastic bodies.
In animation, the presence of the animated body evokes the 'real' body whose essence and movement it mimics or stylizes; in many though certainly not all respects, spectators appraise and evaluate animated bodies in terms of real ones.
Moreover, our locus of identification with animated bodies is often grounded in the fiction of our common possession of bodies: thus, when Wylie Coyote falls of a cliff with a pound anvil in his hands, we cringe because we realize that yet another body is consigned to the routine of destruction.
The presence of the animated body in sexual congress evokes not only the issues attending the surplus of bodies and sexualities but also, in many ways, the 'real' bodies displaced from the frame but nevertheless haunting its margins.
In short, the pleasures and ethics of animated pornography are inevitably mediated and understood by and through those of live-action pornography.
Hyperbole, pornography's principal mode of enunciation, also lies at the crux of animation's aesthetic. In all kinds of pornography, big is always better: broad acting, big groans, melonsized breasts, footlong schlongs, voluminous ejaculates, and global gang bangs.
Similarly, in animation, much is overstated: facial features and body parts are hypertrophied, gestures are exaggerated, doses of violence are administered in extremes, sound and visual cues are magnified, and production numbers are rendered in over-the-top fashion.
When animation meets pornography, the fusion of hyperbolic sex and hyperbolically drawn cartoons produces more than the sum of their parts.
For instance, not only is animated pornography capable of producing sexualities that cannot exist i. Predictably enough, this hypersexuality is represented literally by the presence of multitudinous and massive genitalia.
Phallic shapes and, less frequently, yonic forms abound in backgrounds, landscapes and objects. The witch in Schwänzel und Gretel Dickzel and Gretel , for instance, tends a garden of penis asparagus which she nourishes with freshly squeezed breast milk , lives in a house that has a penis for a chimney and tiny labias for roof shingles.
She pumps milk out of an unusual artesian well that masturbates a big disembodied penis to draw white fluid.
With every gush of water from the phallic milk dispenser, every burst of smoke from the penis-shaped chimney, her desire is concomitantly over stimulated, thus making her predation of our youthful protagonists both inexorable and understandable.
As in live-action pornography, animated pornography celebrates excess while at the same time negating it, since nothing is ever enough.
The consumption of pornography implants perversities from its perpetually expanding and inexhaustible catalogue of bodies and sexualities, manufacturing desire not primarily for sex but for even more pornography.
However, in live-action pornography-but not in animated porn-problems of supply constantly expose the finitude of its 'pornotopia': not everyone consents to making pornography, no matter how great the demand may be, and laws pertaining to the disposition of the human body limit the pornographies created with them.
It may even be argued that the relentless and unrivaled generation of this surplus of sex and sexual images is the primary sources of animated pornography's jouissance the unfathomable jubilation it engenders in the same way that the tireless kineticism and unabashed explicitness of live-action pornography's sexual routines serves as the ultimate wellspring of its joy and appeal.
This may explain, for instance, the spectator's delight in viewing Pimper Power, an animated short that offers no narrative pleasure but an exhaustive visual exploration of every possible sexual situation involving two couples, a house, its contents, and then some.
The TV automatically switches back and forth between pornographic programs, showing, for example, a woman who brushes laundry against a washboard and ends up masturbating while getting sexually penetrated from below by a disembodied penis.
New characters drawn in different illustration styles appear intermittently in non-diegetic, surreal sexual situations.
The disembodied head of a maestro plays sexual music on a piano and later jumps into the realm of another cartoon couple to administer cunnilingus on one of the 'diegetic' women.
A couple of breasts emerge out of ice and sit beside chilled fruits, including, not insignificantly, pears and melons.
A woman performs jumping jacks but instead of clapping her hands, she reaches for a penis suspended from the wall. A man draws an endless spool of thread from one of the two women's pubic hair.
To be sure, a lot of the humor of Pimper Power and similar works derives not only from the depiction of imaginative im probable acts but also from delight at the sheer energy and sense of possibility that propels its creative sexuality.
In animated porn as in a utopian society, sexual orientation is often seen as fluid. More often than not, homosexual, bisexual or even bestial sex acts are not permanently attached to the sexual orientations of the characters.
Just as infancy is posited by Freud as a period of polymorphous sexuality, so too does animated pornography exist within a state and space of sexual liminality-something not enjoyed by most live-action pornography and porn actors who are constructed and marketed in such rigid categories as tops, bottoms, sadomasochists, bisexual, butch, femme, fat, granny, etc.
It is not surprising, then, that a dragon impales a duck 'doggie style' in Odysseus und die Konigin van Pornos Odysseus and the Queen of Pornos and that Eveready Harton in Buried Treasure's titular penile protagonist engages in bestiality and homosexual penetration without being marked specifically as homosexual in the film.
Of animated bodies that are hypersexualized and polysexual, extreme promiscuity is expected. When bodies come together in the visual field of animated porn, they almost always precipitate a sexual transaction, even between the unlikeliest of sexual partners.
Such is the case when the famous protagonist of El Pichote dela Mancha finds himself alone with his sidekick, Sancho Panza.
Panza obliges and ends up stroking his friend to full erection. Before they get too intimate with each other, two distraught women with chastity belts and bearing keys to them show up from out of nowhere and request service.
Predictably enough, when animated bodies come together in groups, they end up in orgy. In fact, so strong is the tendency towards orgy in animated pornography that it might as well be an obligatory feature.
In some films, like Freibeuter der Mäsen Pirate of Cunt , a wild sea adventure featuring appropriated American cartoon characters, the gang bang is woven carefully into the plot: Porky Pig and Bugs Bunny rescue an island from the designs of the evil Captain Pisscums.
When victory is attained, the seafarers barter treasures for women. A very politically incorrect orgy ensues, including, predictably enough, Bugs in a threesome and pirates chasing a voluptuous Black native while shouting, "Come here, my sweet savage, and have a taste of civilization!
Of course, not all films bother to 'justify' their orgies through plot points. The hypersexuality and polysexuality of animated pornography is predicated upon an actual lack of sexuality.
In theory, one could speak the gravest taboos in animation because animation, like child's play, is nothing at all; animated bodies are only virtually corporeal.
One may thus think of this hypersexuality as built-in overcompensation for an intrinsic and fundamental short-circuit in the representational program of animated pornography-in the same way that, as Linda Williams argues, live-action pornography employs an excess of groans, ejaculates and sexual acrobatics in order to make up for its essential inability to represent female sexual pleasure.
Does the word 'animated' in 'animated pornography ' bracket the pornography it purports to offer? The answer is necessarily complex.
While the term 'pornography' 'writing about prostitutes' is rooted in oral, gestural and verbal traditions from ancient experience, I believe that the invention of photography and cinematography, and their use in making pornographic images, constituted both a limit and a flash point that redefined pornography as a product of real bodies.
Like the female torso-in-the-meat-grinder that appeared on the cover of Hustler, the imaginary children impersonated by law enforcers at chat rooms, or the fictive children in pedophile oriented fiction and virtual pornography, the bodies in animated pornography possess a phantom status that is arguably substantial and real enough to become the subject of angry protests and serious lawsuits.
Instead, I should say that animated pornography proffers the illusion of a transgressive hyper and polysexuality legitimized by the discursive im materiality of the animated body and managed by the legal cultures surrounding their creation.
These cultural and legal complications lead to another important but often unnoticed paradox of animated pornography: that in a medium associated with childhood, the figure of the child is most notably missing, appearing only by proxy, transference or association.
As is true of nonsexual animation, the style of figuration and the medium employed in creating animated figures colors the nature of the animated body, suggesting its expressive possibilities, and determining the meanings generated by its placement within and outside the diegesis of an animated film.
For instance, the Quay Brothers' use of industrial debris and mechanical puppets is particularly effective in evoking totalitarian regimes and conjuring nightmarish visions of the modern apocalypse in films such as The Street of Crocodiles Similarly, Sheldon Cohen's evocation of crayons and his childlike illustration style in The Sweater not only complements the joyful simplicity of author Roch Carrier's childhood reminiscence, but also finds a perfect visual texture to represent the evanescence of memory.
The medium, process and style of animation also allow animators to convey tone, position their audiences, and even mark the targets of their transgression.
The predominance of pornographic cartoons drawn in the style of American studio animation may thus be understood not only as a practical and appropriate choice but also -depending on one's interpretation-as a potentially subversive one.
Some may see the emulation of mainstream cartoon aesthetics as a rather transgressive attempt to simulate and occupy a cultural form coded for children.
Others may argue that this transgressive edge is effectively blunted when these 'threatening' sexualities are grafted onto cute, silly, pastel-colored animated figures.
To be sure, cel animation, while closely identified with studio animation and a childlike aesthetic, is a much more supple medium, as demonstrated by the long and vibrant history of avant-garde and political works in American independent animation and Western and Eastern European animation.
When used in making pornography, alternative cel animation aesthetics not only seem equally suited for representing adult subjects but are even more significant for their resonances to the history of erotic visual art.
For instance, Pimper Power draws extensively from the conventions of expressionism, Japanese erotic prints shunga , commercial illustration, and cubism, among others.
Its fugue of sexual scenarios and eclectic visual style draws connections between animated pornography, modern 'marriage manuals' and older pillow books, suggesting not so much a common didactic or instructional strain but, more interestingly, a common exploration of the plasticity of sexuality and the body through the mediation of infinitely plastic bodies.
Cel animation may also be employed to create unmistakably adult bodies in a realist and surrealist manner that draws from the language of such adult-identified traditions as technical and commercial illustrations, and studio art.
In Crocus , Suzan Pitt Kraning employs a visual style reminiscent of Victorian print illustration and commercial line art to evoke a modern woman's fantasy world of muscled men, sensuous butterflies, overfilled apartments.
Pitt Kraning's plotless erotic reverie uses animated erotica as if it were an adult woman's moving paper doll-modern surrogates for enacting fantasies and representing dreams, extensions of an adult woman's body and her imagination.
Similarly, Gary Moore, in Armchair Inventions , exploits animation's ability to simultaneously render bodies in both realist and fantastic ways in order to capture the texture of adult sexual dreams.
In images and plot points that imbricate eros and thanatos, the woman in the magazine pops out of the print world, turns into a tomato, and inserts herself into a pinball machine.
The man tries to play with her or for her through the machine, but when he successfully hits the target her vagina , she turns into a skeleton and he, mortified, devolves into a tomato.
Moore's employment of human bodies that transform into machines or are interchangeable with them not only utilizes animation's unique ability for metamorphosis and predilection for surrealism; it also gestures significantly, reflexively, towards the nature of the animated body as a mechanized human prosthetic.
Predictably, animated bodies created as objects with a tangible existence evoke an even greater affinity to human bodies than two dimensional forms of cartoons; they possess a gravitas that comes only from having an actual even though nonhuman body.
Like human bodies, wooden puppets or clay figures are vulnerable, able to register distress, subject to the laws of physics, occupy space, etc.
Moreover, the materiality of their bodies better parallels the range of meanings that human bodies can generate.
In Karl Krogstad's Jack in the Fox , characters with clay bodies are endowed with human characteristics that are denied to characters with hard plastic bodies.
The soft and flexible sensuality of the clay figures contrasts with the hardness of the dolls' plastic bodies. When the clay figures engage in coitus, their bodies writhe poetically, unlike the harsh, jerky motions of the 'depraved' plastic dolls who twist erratically and hump with strong, clumsy force.
Jack, turned off by the sexual excess of the group grope, leaves the scene. He is followed and consoled by his wayward lover, a red-haired woman, after she extricates herself from the dog pile of copulating bodies.
The film's unsubtle treatise on promiscuity suggests a Biblical significance to the clay figures' materiality:like human flesh, clay is corruptible, and the first human body was fashioned with clay.
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