Huh…the girl on the left is definitely Erich von Gotha, who signed this, but the girl holding the mirror looks like Ben Newman.
A collaboration? An overlay?
(Source: olderoticart)
Another major subtrope is the submissive being left there in front of the mirror, to contemplate their role….
oooooo.
Because it’s for your pleasure and your pleasure always becomes my own. ~shivers~
(Source: ella9)
I love the way she’s consoling him. I can imagine all sorts of condescension:
“I’m so sorry, sweetie, but I promised them.”
(Source: womenwithwhips)
Ok, now let’s move on to the other end of this trope—the actual arrival of the monster / animal / creature.
The above, obviously, is from the original King Kong in 1933, back when Hollywood made movies with original storylines. This is the scene where the Ann Darrow character (played by, and nearly always referred to as, Fay Wray) is being sacrificed to Kong.
It illustrates a handful of themes that will keep coming back in the next few images. First of all, there is the ambiguity of getting devoured = getting ravished. (I’ve never really understood why Kong needed these little human dumplings…he ought to be eating gigantic Jurassic bananas or something.)
Second of all, there’s the undercurrent of all metaphors that we put on animals. With King Kong (and generally with the great apes) there is an implied racial metaphor, but it isn’t clear-cut. As many folks have pointed out, Kong might evoke white fears of blackness, but Kong is essentially the hero of the movie. All these metaphors blur into the general notion of “bestial” sexuality, which has nothing much to do with actual beasts having sex.
Finally, from David Rosen:
The Hays Office censored what it considered the objectionable scenes in KING KONG, which included one sequence on the island where Kong gently tears Ann’s clothes off, strokes her with his finger, and then sniffs it.
GIven how far she’s sticking out her chest, I don’t think she has to be on tiptoe. She’s just trying to make a good first impression for her new werewolf master.
To me, this is a classic Andromeda-sacrifice type image, except the victim is the mountains rather than on the coast. But Louis Smith, the painter, has a whole different idea:
The portrait of Holly is based on the Allegory of Prometheus, who was the champion of mankind. Prometheus stole fire from Zeus and gave it to the mortals. Zeus punished him for this crime by bounding him to a rock while a great eagle ate his liver. The punishment would take place every day, Prometheus’ liver would grow back, only to have it eaten again the next day.
In this portrait, Holly is looking into the face of the eagle with a calm strength and resilience, accepting the fate that lies before her. It is a heroic gesture of composure in the face of adversity. One could put a modern day spin on it and see it as having the courage and perseverance to weather life’s storms, no matter what.
(via prettynaughtythings)
Other times, as with branded boy here, the trope is only hinted at. But still…what happens to him after he gets left all alone here? Who discovers him, and what will they do?
(via plainnasty)
While I like the aesthetics of super-complex “Japanese” bondage, I don’t usually have a narrative that goes with it. Really simple bondage is easier for telling a story.
I think if the villagers actually had to sacrifice a maiden to the dragon, it would look a lot like this. No shackles bolted to pre-drilled holes in the rocks, or elaborate knotwork. Just a scared, skinny girl out in the field, with her wrists tied to a tree.
So this is the first of a couple themes that I want to move towards as we put dragons behind us: the more generic outdoor-sacrificial-bondage trope.
(Source: scentofslave)
Andromeda, who we’ve seen before, is sort of the ur-example of the dragon sacrifice in the west. Although her problem is actually a sea monster, strictly speaking.
While her peril-bondage scenario is always dark/erotic, Picou really takes it up a notch.
ricp:
Henri-Pierre Picou
Andromeda Chained to a Rock, 1874
(via werusdarkworld)