In spite of Dr. Halat and thousands of years of patriarchy, hymens aren’t an especially good way to verify much of anything. But the fantasy dies pretty hard….
And as soon as the Doctor verifys her purity we will start the bidding at $10,000.
Ghosts. Fer sure. Now you tell me what that pumpkin is made out of. Concrete?
inviting Orlando to figure out how exactly the shadow on the wall got there…
Yvonne De Carlo 1940’s
While it’s possible that it’s her milkshake that’s bringing all the boys to the yard, there are some other factors that have to be considered, too.
She never even addresses her in the second person. It’s all:
“Marcus, why don’t you give Claudette another twenty. I don’t think she sounds repentant enough.”
(via prettynaughtythings)
Even in Story of O (1954), the collar simply appears as one part of the captives’ bondage ensemble. The symbolic importance is attached to her ring.
In Jaekin’s 1975 film version, here, the collars are (I think) kind of silly looking.
BTW, I have a new blog post on the book.
As I’ve written elsewhere, I haven’t seen that much video porn, and what I have seen I hate in all sorts of ways. But this is just lovely. The silence, black and white and slow-motion photography is all perfect, and the models (especially in the last sequence) both seem to belong in that moment. And there’s something so humiliating about stopped-motion bodies responding to a blow…
This is just yummy. Do yourself a favor & watch this video! Good lord, if only I had a girl & a cane right about now…
There’s an exquisitely slow, sexy video by Ruth Hogben at SHOWstudio which, unfortunately, can’t be embedded here. It’s very much worth clicking through.
John Willie (actually Coutts, 1902-1962) was a influential post-war fetish photographer, artist, and editor of the magazine Bizarre, advertised above. He was also, interestingly, one of the first people outside Argentina to “discover” and promote Borges. As this page demonstrates, his fetish style spans the soft/hard media split, from the lace and lingerie and parasols to the metal branks at the bottom.
graveyarddirt:vaderetromesatana:blackcomet:wickedknickers:scandyfactory:petitesade:koneja:redridinghood:totenkopf:laultimainocencia: bizarre
(via epentesis)
I’m in kind of a collage mode, because no one of these covers really grabs me, but the similarities do.
Piracy lends itself to a romantic stock plot. It’s the capture/rape fantasy, plus the exotic otherworld escapist fantasy, like running off with the gypsies/circus/elves, etc. All rolled up into one big ball of fun. And while it’s very D/s-y and potentially very violent, this sort of cover art suggests that the stories aren’t going to be especially dark. Yeah?
And yes, that’s Fabio. My apologies.
Morgan at Porto Bello, 1887, Howard Pyle
The Caribbean pirate trope as known in pop culture was pretty much invented in the 19th century. Pyle, especially, produced dozens of stories and striking images of pirates for his children’s books, and for Harper’s. Pyle was notoriously historically inaccurate, but he captured what was essentially attractive about the pirate fantasy, a century before Johnny Depp: an exotic dropout culture free from rules and normal social standards, including sexual standards.
As roughly fifty thousand bodice-ripping novels assure us, the wild-eyed captive on the right is about to lose her dress, her virginity, and every last shred of innocence. And yet, although her captor is a cruel beast, who subjects her to unspeakable horrors and indignities, she will slowly come to love him, (Yes!, love him undyingly!) by around page 467.
Finally, I just have to point out that this scene is framed much like the Orientalist “presenting the new slave” motif.