Six propositions on the sonics of pornography

Pornography (and all its contentious pleasures, contested politics and attendant problematics) is enjoying a fresh wave of academic attention. The overwhelming majority of these studies, however, focus on the visual discourses of sexually explicit material. This risks the sonic dimensions of pornography being overlooked entirely. Yet porn is anything but silent. This speculative article maps out some of the ways in which the sounds of pornography (and the pornography of sound) might be approached in the analytical context of gay male culture. Not only do the texts of porn contain assorted sounds (dialogue, soundtracks, non-verbal noises of participation, background and accidental audio), they also seek to prompt sounds (not least the non-verbal noises pornography seeks to elicit during the moments of its consumption) and sometimes depend on sound alone (telephone lines that allow access to recorded narratives or ‘live’ chat). Pornography speaks in particular accents, it mobilizes particular music, it dances to particular tunes and it relies on the pants we hear as much as the pants we see. If queer cultures have their own distinctive worlds of sound, then the sonic armouries of porn play a prominent role within them

Male gays in the female gaze: women who watch m/m pornography

This paper draws on a piece of wide-scale mixed-methods research that examines the motivations behind women who watch gay male pornography. To date there has been very little interdisciplinary research investigating this phenomenon, despite a recent survey by PornHub (one of the largest online porn sites in the world) showing that gay male porn is the second most popular choice for women porn users out of 25+ possible genre choices. While both academic literature and popular culture have looked at the interest that (heterosexual) men have in lesbian pornography, considerably less attention has been paid to the consumption of gay male pornography by women. Research looking at women's consumption of pornography from within the Social Sciences is very focused around heterosexual (and, to a lesser extent, lesbian) pornography. Research looking more generally at gay pornography/erotica (and the subversion of the ‘male gaze’/concept of ‘male as erotic object’) often makes mention of female interest in this area, but only briefly, and often relies on anecdotal or observational evidence. Research looking at women's involvement in slashfic (primarily from within media studies), while very thorough and rich, tends to view slash writing as a somewhat isolated phenomenon (indeed, in her influential article on women's involvement in slash, Bacon-Smith talks about how ‘only a small number’ of female slash writers and readers have any interest in gay literature or pornography more generally, and this phenomenon is not often discussed in more recent analyses of slash); so while there has been a great deal of very interesting research done in this field, little attempt has been made to couch it more generally within women's consumption and use of pornography and erotica or to explore what women enjoy about watching gay male pornography. Through a series of focus groups, interviews, and an online questionnaire (n = 275), this exploratory piece of work looks at what women enjoy about gay male pornography, and how it sits within their consumption of erotica/pornography more generally. The article investigates what this has to say about the existence and nature of a ‘female gaze’

Costume or Dress? The Use of Clothing in the Gay Pornography of Jim French's Colt Studio

It would seem that one of the intentions of the viewer of gay pornography would be to see the sexual engagement of the participants (and perhaps the “money shot”) with a focus upon the gymnastics and writhing of bodies that constitute the practice and representation of sexual activity within the film. However, before nudity or nakedness is presented the “characters” are dressed. Using the films and photography of Colt Studio and its founder Jim French from the period 1967–81 as a focus this article explores the ways in which the “characters” are constructed through their clothing and costuming. It will address the ways in which these “icons” of masculinity that had developed in the pre-liberation physique magazines and stag films reflected the prototypes, archetypes, and stereotypes of post-liberation gay identity and dressed appearance in the fifteen years following the Stonewall riots and gay liberation. Colt Studio was famed for its particular presentation of hypermasculine images and a “stable” of masculine actors that included Clone superstar Al Parker. This article will offer an analysis of the use of particular items of clothing and the iconic styles of leatherman, motorcycle cop, and gay clone in Colt’s output of this period

An action study on the improvement of teaching and learning in general education : 11. An essay on "peer review"

Early T-cell precursor leukaemia (ETP-ALL) is a high-risk subtype of human leukaemia that is poorly understood at the molecular level. Here we report translocations targeting the zinc finger E-box-binding transcription factor ZEB2 as a recurrent genetic lesion in immature/ETP-ALL. Using a conditional gain-of-function mouse model, we demonstrate that sustained Zeb2 expression initiates T-cell leukaemia. Moreover, Zeb2-driven mouse leukaemia exhibit some features of the human immature/ETP-ALL gene expression signature, as well as an enhanced leukaemia-initiation potential and activated Janus kinase (JAK)/signal transducers and activators of transcription (STAT) signalling through transcriptional activation of IL7R. This study reveals ZEB2 as an oncogene in the biology of immature/ETP-ALL and paves the way towards pre-clinical studies of novel compounds for the treatment of this aggressive subtype of human T-ALL using our Zeb2-driven mouse model