#the racial fetishism is strong

[beowulfgang]

"Think about what you've done" isn't "blanket hate". It's about holding white queer folk accountable and aware of the rampant racism within the LGBT+ community, which is something that is alienating queer people of colour and creates divides in the community.

[ifyouknowmenahyoudontt]

the marauders fandom is the PERFECT exemple of performative activism.

yall make such a strong point about sexuality thinking it’s doing something while completely erasing the characters personality.

i don’t CARE that regulus black is gay in your eyes what matters is that HE WAS A PUREBLOOD SUPREMACIST. you use sexuality as a shield in a way that’s so counterproductive.

the point of all of this was to make barely existent characters deeper and more complex but it went off to make everyone dumbed down stereotypical version of barely themselves.

we all hate jkr right? but some of you go around erasing the only political aspect of the books for the sake of your little fetishized gay twink story.

you think you are so different from the rest of hp fans because you make characters gay but you ignore the racial and gender stereotypes aspects of everything. as a woman and a NON WHITE woman hearing people talking about their favourite ships and characters is WILD.

all of you put such an importance on being respectful to peoples opinions but only when it comes to sexuality. the moment someone criticizes your love for canonically racist little assholes that did so much damage instead of deepening characters that ARE CANONICALLY WHAT YOU MAKE FANON INTO you freak out and call them names.

the fight for the LGBTQ+ community is not singular. it goes hand in hand with many other fights like for racial equality and gender equality.

before you comment “ LeT pEOplE liVe” or “ In My HeadCaNonS theYre nOT liKE THAT” i don’t care about the me.me.me speech

i care about what you make popular. what had taken over the fandom and what is being seen by the younger audience that you make seem as normal

[jotun-design-party]

on fandom orientalism, ft. a quick visual example:

the example on the right is something i drew solely using references of the top results i saw on pinterest upon searching "jotun loki." please don’t roast my inconsistent handwriting

south asian cultures are often jumbled together for white artists of all kinds (authors, artists, movie directors) to create a sense of mystery and make things look "more foreign."

note: this doesn't touch on the antiblack racism in canon jötun designs; this post is primarily about fandom-sourced fetishization. i heavily encourage people to reblog and add onto this post anything i may have missed or added nuance

cut: links on orientalism, in-media examples, how this manifests in fandom-made content

i'd like to start off by saying that this post is a white person telling other white people how to spot orientalism in relation to fiction. i am by no means an expert on any of this, but my goal here is to start creating a less ignorant space that doesn't push people out of fandom.

i'm just trying to stir up more conversations about this and get other white people to think more critically about how they engage with the content they consume. nerd shit should never come with a sacrifice and it's extremely upsetting to see people of color consistently forced out of fandom communities, especially when modern superhero comics began as a way for jewish people to have a voice.

if this post upsets you, i don't want to hear it. don't tell me, "it's not that deep," or, "keep politics out of comics." it is that deep, and superhero comics have always been political. if you have the urge to leave a comment or send an anon about how you don't think it's a big deal, feel free to block me instead, because i don't care and you'll just get blocked anyway 👍

with that out of the way,

Q:

A:

there are countless ways to design a character in a way that makes it clear that they are an alien, or to make them sexy, and there is no excuse to perpetuate stereotype that put real-life people in danger to do so.

"Orientalist paintings and other forms of material culture... depict an 'exotic' and therefore racialized, feminized, and often sexualized culture from a distant land." [¹]

there are so many examples of this in loki fic and art. it's extremely common to see loki depicted as a feminine object of desire. they may have longer hair. clothing that serves more as an accessory than an outfit, that isn't suited to protect them from either the harsh cold of jötunheim or the sunburns one might get when surrounded by reflections of the sun off the snow. draped in jewelry, and in a compromising position.

i'm sure you can imagine how this can get especially out of hand in relation to thorki. i would speak more on thor's presence as both the white aesir prince or the strong barbaric jötun, but as i'm not comfortable consuming thorki content, i don't have enough context to speak on the stereotypes used outside of the art pieces i've seen while searching for jötun loki fanart.

i am, however, confident in saying that orientalism often serves as a device for fan creators to show a contrast between Asgard's white-viking-british-accent-magic-science-elegance. jötunheim, in the comics, is often portrayed as a less intelligent, cutthroat, barbaric, and bloodthirsty culture.

"There was always something unknown and uniquely different about Orients which reinforced the distinction between the European 'us' and Asian 'them.'" [²]

the green link in particular comes with a helpful tool for anyone who might be inexperienced in spotting racist themes in media. if you have trouble being confident that the media in question is orientalism, this link comes with a checklist scale to score how likely it is to be an offensive depiction.

an example that most of you will be familiar with is Disney's Aladdin (1992). the green link goes much more in-depth about the intricacies of Aladdin's orientalism, and i heavily HEAVILY encourage you to read it, as it will help fully grasp the way fetishization and demonization go hand in hand in orientalism.

here, i'd also like to use it as a comparison to show why this loki stuff is honestly... egregious.

by now, even the visuals here should seem very familiar.

the source goes on to use arranged marriage as an example of a common "trope" in orientalist fiction. as previously stated, i don't consume thorki fiction. however, i am EXTREMELY confident in making the guess that it tends to be a common theme when jötun loki is paired with an aesir thor.

i'd also heavily recommended this article and this wikipedia page, both on the negative and stereotypical portrayals of romani people; loki is a magic user, and i suspect that one of the reasons there is such heavy use of these appropriated, exaggerated, and fetishized themes and visuals is because of the demonization of romani people as tricksters, thieves, and witches.

[woomycritiques543]

https://twitter.com/NazFX_Studios/status/1199643032292749312?t=1zGGNfvZkOKvFd0ItADX7Q&s=19

Vivziepop recently made a Collab with NazFX on Twitter who's releasing a Loona remake tomorrow. It appears she has collabed with this person twice? In the link I'm sending is a video of a white Alastor plush. My favorite character in the Hazbin Hotel series is whitewashed to oblivion again! Like WTF, Look at him? Why is he so white 😭? WHY IS HE STILL BEING PORTRAYED AS A NON BLACK CHARACTER? First it was Sallie May that was overly sexualized for being a trans woman which insulted the community and got a lot of backlash, then making another transmasc character Cis which got more backlash and now we're pushing for anti black, white Alastor! I encourage others not to buy from Viv or get the Loona plush to pocket her pockets because she's anti black and is absolutely terrible at portraying black characters, characters with different ethnic backgrounds in general or just LGBT characters. Vivziepop is not a spectacular person with great ideas. She can't represent characters period!

This is "OOAK." Not a collab. It's fanmade.

I get your concern, but please provide clear evidence before making accusations like this. Though yes... Vivziepop does whitewash him still, in fact, she made him lighter after the backlash about the Vodou representation, something fans and non-fans alike were disgusted by her doing this kind of anti-black behavior, and kept the symobols in the episode- just more hidden now.

Look at Vortex, look at how this character is drawn, look at how the muscles are emphasized while the white muscular characters are drawn otherwise normally or with Ozzie, have skinny arms.

Look at how they drew the white muscular characters and their anatomy compared to Vortex and try to tell me that there was "no anti-blackness" involved here. The white men have even anatomy, while for Vortex, it's emphasized to hell and back, and he's given almost no sympathy for being a slave, while Loona is multiple times just because she's white coded despite being Hell's equivalent to how black people were/are treated. Yet for Vortex, he's not sympathized with, even in his debut, and is only animated to "look intimidating" and to be violent while also having not a single black person influencing his writing. He's just meant to be the "token strong black man" while Coco and the rest of the background characters are put their for brownie points while we get no respect from these writers underneath this narrative. It's hypocritical, selfish, and downright racially insensitive. These stereotypes are far from "harmless", especially today with the newest Helluva Boss episode and how it relates to the harmful stigma against drag queens.

The fetishization of trans, drag, and black lives hurts us.

These stereotypes are not "comedy", they're reputational harm.

-while the other black characters are whitewashed and given names like "Coco" based on their skin. You can actually tell that the direction of this show had not a single black say on these shows, at all.

HB also made over half of their main poc characters succubi as an excuse to fetishize us. It's just hentai for minority fetishists, that's it, the show is just what Americans think hentai is, but worse, since it includes all misrepresentation of women from hentai along with ableism, racism, homophobia, and blatant transphobia from the writers being put into the tones and dialouge of the scenes.

The double standards need to stop. There is no such thing as a "good" dergogatory stereotype. Black stereotyping and fetishization is equally as harmful as blackface. This goes for Brandon Rodgers as well. Both him and Vivziepop have gotten away with racial stereotypes and sexism for far too long. There needs to be at least one black say behind this writing. This needs to stop.

Also look at the anniversary posts on Twitter:

Not a single black person in sight. I want to be excited by this show so badly due to the nice animation, cool world ideas (Hell with different demon species- how cool is that?!) and the cool looking bg characters but the creators keep ruining it with active bigotry.

So you're right about that one... 💀

Vivienne is speedrunning her own cancellation now...

-and it's just sad to watch. All she had to do was apologize for how she misrepresented multiple minority groups and let her stans attack us, none of this discourse needed to happen smh.

If racism and all around bigotry is "not ok" with Oye Primos. It's "not ok" with how Helluva Boss treats minorities as well. People need to stop having double standards just because one creator benefits their fan content more than the other. To the HB tag, if you like any of Vivziepop's shows, cool, but dont pretend to support us while denying how much bigotry the creators have just because you want more of Vivziepop's cartoon softcore porn.

Racism and queerphobia should not be normalized with any writer.

Stop the hypocrisy!

[lover-of-mine]

It isn’t lost on me how racist some of these 911 stans are wanting Tommy to have a begins/regular character status when Karen and Ravi don’t even have that and treat the already canon queer rep like they don’t exist I also think some of the way they talk about Eddie and don’t care about him anymore now that a white cardboard cutout of him is here feels racially charged like why are you hyping you this white man but not the other queer canon rep (karen) and poc on the show as well(Ravi karen) they stopped pushing for Eddie to have better written storylines and just feels gross to toss aside a Latino main character away like he doesn’t matter for a white guy who is closely like him who has a screentime of 5 mins they literally just wanted buck to kiss a man and only care about fetishizing two men like let’s call it what it is

You hit the nail in the head, baby. I have no strong emotions towards Tommy or bucktommy and I'm not saying this is what everyone is doing, but since Tommy only has 5 minutes of screentime, Tommy is a character they can just project whatever the fuck they want and make it the "perfect partner" they want for the wobbified version of Buck they see. He's also another white man so it removes all the issues they have with Eddie and kept trying to pretend weren't there because Eddie was the only other option and gives them a nice little white canvas to make the relationship what they wanted. It feels fetishizing when people keep begging for a sex scene when the show doesn't do full blown sex scenes, it feels fetishizing when people are screaming shut up you get to see Oliver Stark make out with a guy as if all that they care about. And this fandom is very racist. Even all the "the gay firefighter show is finally gay" when we always had Hen, Karen, and Michael show that. What do they have in common? Eddie is constantly portrayed in fics as this harsh version of himself that's bad with words, and feelings, and is generally broody, and something straight up incompetent or aggressive to make Buck look better, but we don't have fics that do this the other way around. Because Buck is white. He's a nice blond 6 feet something blue eyed dude so he's always gonna be perfect. Which is boring. But makes it clear that a lot of it is racially motivated. Tommy coming back to the 118 so that he could become a main cast member would be a demotion for him in universe, but people are begging for it anyway. Ravi is right there ready to be moved up to A shift and not getting a third of the noise. It is racist. There's no way around it.

[starrmarr]

as a mixed black woman myself, how do you feel about people saying "mixed blacks aren't black, they're mixed" thank you for your time beautiful queen

Honestly, the real problem for me lies in mixed people, especially online, going so hard to assert they aren’t “just black”. When the world looks at my lite brite self, they still see a NEGRESS, lol. You see it in my face and everywhere else, anyone denying you this way fails to realize even non-mixed black people come in all shades. We are the most diverse! The most exotic! I had an experience once, where someone was denying my blackness, so I made it a point to ask random strangers in the park what they thought I was, racially. The answers went like this: black, black, black, and “you’re BLACK and something else”. She had nothing to say afterwards. It’s silly, really, how so many of us are strangers to ourselves.

Our genetic information is so strong that even when we lay with individuals outside our kin, we reproduce ourselves— “you are your Black parent and something else”. Afrika overrides all the other shit, that “something else” becomes unidentifiable. That aside, my mother is a biracial woman and my father is a fully Afrikan man so once I really started understanding how I’m perceived and what’s in my genetic makeup, I don’t care to call myself mixed, I’m just a nigga, a griffe for the folk who subscribe to the weird plantation talk cause that’s really all it is on both sides— weird slave auction separation tactics that somehow make us believe we’re more valuable the further away we get from Blackness. Think about all the weird shit: the people with the million flags in their bios, the people who can’t wait for the “what are you” questions and then make videos about how “annoying” it is, a recording artist calling herself ���Mulatto”, the constant propagation of interracial relationships and the mixed baby fetish... child, it’s a lot. I think it’s genocidal, honestly, but that’s for another day. Don’t listen to the coonery, don’t subscribe to it either.

Thank you for calling me beautiful, it’s because I’m Black <3 hehe

[mr-orion]

I think a lot of the trans community and lgbtq+ community is misogynistic. And while we can all point out the way it is misogynistic towards the women, we never point out how it is misogynistic towards the men.

I'd like to add that misandry is an incorrect interpretation of these things. To say that I am experiencing "misandry" would be a bad faith argument and show that I do not know what misogyny is. It would show that I do not know how misogyny can benefit women while hurting men. Misogyny is the oppressor of all, while misandry is an unlayered concept meant to divide the oppressed.

Here's just a list of misogynistic things that trans men deal with in the (lack of) community:

Hatred towards masculinity. Exclusion. Only femininity can be good because women are inherently less violent and don't hurt people. Expression of masculinity means you cannot be trusted.

Lack of respect towards feminine men. Femininity is bad, and men should be ashamed to love feminine things. You cannot be both at once.

Lots of berating. Men deserve to and can handle abuse because they are strong.

Criticisms of other trans individuals, primarily women, are seen as misogynistic. Can also go for other trans men.

POC Men being excluded from conversations of gender dysphoria repetitively because they are seen as "more passing." Not only misogynistic, racially motivated.

POC Men being seen as toxicly masculine because they have adopted neutral behaviors of their communities or race. Once again, racist and misogynistic.

POC Men percieved as feminine or non-passing despite culturally transitioning to being masculine and being seen as masculine in their culture.

POC Men seen and treated as dainty and feminine despite developing many traits that are very masculine.

Not being taken seriously because we do not voice our own abuse nor do other trans individuals advocate or believe us.

The uwu-fication of men because we are seen as the "softer" version of cis men.

Mens surgically created genitals being described as weird looking and disgusting.

Lack of knowledge on what a hysterectomy actually does for a person during sexual intimacy.

Assumption that men are inherently overly sexual because they are men or not sexual at all because they are afab. They have no agency in their sexuality because gender directly decides a persons wants.

Preferential treatment to desireable looking men. Reinforces that appearance directly decides the amount of respect you give a person.

Men advocate repeatedly for womens struggles but are ignored because they are now men.

Advocating for mens struggles is treated as feminine struggles erasure.

Intersex trans men being incorrectly categorized against their wishes.

Assumption that a cis or unknown man must be trans because he is slim and sexual. Additionally, the assumption that a fat asexual man must be trans. A direct play into desireability and almost fetishization. Seriously, how often do you see the jock type of character headcannoned as trans with people being receptive to it? It's almost to indirectly say that only "undesirable" men can be trans. This is not a call to remove those types of people from trans representation but to instead add more types and address your biases.

Assumption that men want to neg their female bodies. It's expected that men hate their bodies because they're feminine looking.

The expectation that men should participate in misogyny because they are men.

There's a lot of trans masc erasure. People care a lot about trans women because they take the brunt of bigotry, it's expected. Women deserve to be listened to. Despite that, though, it's almost as if trans men are expected to be okay with suffering. Heck, if I didn't acknowledge trans women in my post and this hit a wide enough audience, a large amount of trans people wouldn't listen and assume I'm fighting trans women. There's this weird expectation where if I ever say anything about being miserable as a trans man, that means I don't think trans women have it worse or bad at all.

Many people assume that when trans mascs point at themselves, we want to take from women. No. We just want you to also pay attention to us.

[projecthipster]

Pulp Fiction

You've seen this on a hundred t-shirts, but why?

“Whether or not what we experienced was an According to Hoyle miracle is insignificant. What is significant is that I felt the touch of God. God got involved.”

Somehow, I turned 26 without ever having seen Pulp Fiction. I guess I vaguely knew that this was some sort of violent, amoral movie that college freshmen (emphasis on the men) loved for being subversive. And committed as I was to some sort of soft-revolution folk-listening bike-riding Wes Anderson form of hipsterdom, it wasn’t that I hated the idea of Tarantino, but he was never on my radar aside from watching Inglorious Basterds on cable one night. And now that I’ve actually sat down and watched Pulp Fiction in one sitting after years of posters and memes, I have to say what I didnt fully expect to say: I get it. I think I totally get it. My persona’s not going to be uprooted by this movie, but if this was the first thing I’d seen that wasn’t, like, Michael Bay’s Transformers, I can see how it would have that impact.

A few years ago I might have filled this review with thoughts on whether violent crime in movies, perpetrated by the protagonists, was problematic. But truth be told I’m a bit tired of the vaguely neo-puritan concept that a story’s quality can be evaluated with a sort of demerit system, by going over a script with a comb of fine moralistic teeth and dropping points for every problematic aspect. I could easily do that to Pulp Fiction, and in the interest of fairness, let’s do that briefly here. Few strong female characters:  debatable, given how memorable repeat Tarantino collaborator Uma Thurman is as a nostalgic-fun-chasing gangster’s wife and washed up actress, but let’s say point off. Every time Samuel L. Jackson, John Travolta, and Bruce Willis gun down people in cold blood: point off. The entire ending to Bruce Willis’ segment: several points off. Tarantino writing a speech of a white guy standing in his kitchen spouting racial slurs like Pitchfork writers spout baseless comparisons to earlier albums, and then casting himself as that white guy: many, many points off. You can decide for yourself whether you want to take points off for the foot fetish. Was that fun? Are we purified? 

I couldn’t say exactly why I’m over this neopuritanism. Maybe it’s the algorithms, censoring anything with naughty bits for the sake of greater appeal and therefore greater profit, forcing a sort of childish doublespeak. I don’t think there’s a single scene in this movie that could survive unedited on Tiktok. No one in Pulp Fiction is unalived. They die. What’s more, they fucking die. Working around that even for progressive reasons all smacks too much of more classical conservative censorship. There’s a classic interview from around the release of Kill Bill that I found before I queued up the movie. A fusty-vibed pundit does her best to take down Tarantino with accusations of corrupting youth through senseless onscreen violence. He rallies back, more convincingly, that even kids can separate movies from reality better than the moral crusaders tend to assume. Why all the violence? Because it’s so much fun, Jan!

And as I watched this apparent frat bro classic, as I was swept into the sheer style of it all, with the classic music and the funky directing and the whip-quick dialogue that swings between incredibly casual and over-the top theatrical, while I didn’t feel myself turning into a frat bro, I felt my inner Jan wither away somewhat, because, yeah, it IS fun! Pulp Fiction is two and a half hours long, and it feels both longer than that for the amount of stuff in there, and shorter than that for its headlong galloping pace. No, the gangster protagonists aren’t good people. They shouldn’t be role models. They don’t need to be. They’re lurid, florid, edgy clowns, and it’s fun to laugh at them while also being a little scared for them, because if they’re shot, then the fun ends. That was the appeal of the pulp fiction of a century past, of cheap crime novellas sold on tables outside train stations that crumbled quickly into paper dust. As in that namesake fiction, Tarantino’s characters navigate a world divided into Their People and shrieking innocent bystanders, with the ratio tilted rather more to the former than you’d expect. Their stories branch and weave together, wrapping back into a thematically cohesive nugget where it all began. Each of them is a little movie in its own right, introducing us to characters in scenarios that spiral into wild climaxes.

One of the problems here is that not every branch of the tree is created equal. We start with the bits  I’ve seen in memes for decades. Vincent and Jules, buddy hitmen, talk about burgers and track down some dudes. Jules taunts one, plays linguistic games, and recites a fictional bible verse before shooting him through the head. Vincent takes his boss’s wife, Mia, out to a fifties themed diner. Until I watched Pulp Fiction for real, it should be said, I had this impression that it was a period piece. It’s not, it turns out. It’s set in the early nineties, when it came out. It just so happens that every damn thing onscreen throws back to decades previous. The screen itself feels soaked in nostalgia. Maybe that’s part of why it feels timeless. What’s timeless when it’s created will always be timeless. What’s timely fades. Going back to the diner, for example, Vince and Mia enter a dance competition that feels right out of Grease, which yes, I know, was a period piece too. That leads to this climax involving a big adrenaline syringe.

You  see why this is all hard to summarize in a linear manner?

The chemistry of Travolta, Jackson, and Thurman is a great source of the aforementioned all-important Fun through all this. It’s a drop down to suddenly turn to Bruce Willis’ corrupt prizefighter and his character-free doe-eyed French wife, even if that segment does climax the last way you’d ever possibly expect. It mostly all wraps back together at the end, though, with a truly tense final standoff. One thing I like, a closing grace, is that all this blood and swearing and needless slur-dropping ends not in the most violent shoot out yet, but in a  calm and simple act of mercy. It’s like the end of The Catcher in the Rye, where you can see a little bit of character development start to seep in, colouring everything previous as explanatory preamble to this little bit of worthwhile change. 

There’s a touch of hinting at the role of the author as God in fiction, too. The main catalyst for this all-important change, the change that structures the whole rambling multi-threaded movie, is a coincidence that saves Jules’ life. He calls it a miracle, views it as an Act of God. That’s supposed to be Against The Rules of screenwriting. Acts of God, which within worlds of fiction are obviously Acts of the Author, show the hand of the author, and so inherently call attention to the unreality of the story. But maybe, this movie is saying, that’s sometimes ok. There’s a confidence to rapping on the fourth wall a bit. By making the audience aware of the unreality of the story– something even done as early as the title in this case, it has “fiction” right there in it– the work makes them aware of the craft inherent in creating the fiction they’re watching. You only want to do that if you’re damn sure the craft is good. Thankfully, in this case, it is. 

One of the great defining factors of Hipster Fiction, I’m finding, is an appreciation for the auteur, for a story as a product of a singular mind even when, as in the case of a movie, it’s really the product of hundreds of people working together.  That stands in contrast to fiction pushed out of homogenizing studios and record labels and publishing houses, eager to erase the most dramatic and therefore potentially polarizing flourishes of the author into a marketable mainstream. That’s why I don’t mind the quirks, even the weird ones, as much as I might. Tarantino is singular, and the weird foot shots are a signature because he’s a weird dude about that. That’s the sort of thing that would be ironed out of a focus-grouped, less auteur driven, less hipster movie aiming to satisfy everyone. 

That ending, and the touching on the author’s Godly hand, cements Jackson’s melodramatic gangster Jules as the closest thing this all has to a bit of heart. A bit of heart is nice. It’s not why we’re here, though. We’re here to watch John Travolta talk about burgers, dance the twist, and shoot people.

I give this hipster movie four dorm room posters out of five.

Project Hipster is a futile and disorganized attempt to dive into the world of things that the internet has at some point claimed "are hipster," mostly through ListChallenges search results.

This review comes from the eleventh list, The Greatest Films For Hipsters.

Stay deck.

Next up: a book you’ve probably read.

[watching-pictures-move]

Put On Your Raincoats | Teenage Fantasies II (Bardo, Lewis & Lyon, 1980)

She’s back, and up to her old tricks! She being Rene Bond and her old tricks being sucking dick while talking about sexual fantasies, of course. This time, they’re her fantasies, or the fantasies of her friends that they totally told her for real and she didn’t just make up to match whatever loops they were able to stitch together for this movie. Also, this was made almost ten years after the first one, so even if Bond was supposed to be playing a teenager in the first one, she definitely isn’t here. Although truth be told, she doesn’t look much older. Blame it on the chipmunk cheeks.

Anyway, the fantasy framing is a lot flimsier here, but I guess the brand was strong enough to merit the title. Or maybe it’s a Top Gun: Maverick situation, where it isn’t the brand itself so much as its connection to the star that’s the selling point. There are two scenes here that at least extend from childhood fantasies. One is a scene with a princess played by Bond and a frog-turned-prince played by John Holmes.

“Kiss me and I’ll screw you royally.” “He really was a horny toad.”

This is one of the best scenes here because Bond looks super cute dressed as a princess, and also for that dialogue. The other such fantasy involves Barbie and Ken dolls played by Bond and Jack Holt. This one is a lot more basic in execution but is also enjoyable for Bond’s presence. There may be a recurring theme here.

Other scenes include sex on the wing of a plane (not airborne, although it would have been a lot funnier if they tried to fake it; also John Holmes gets a weird nasally voice dubbed over him), sex in a limo, lesbian sex in a hot tub, and sex with a Japanese woman while under surveillance, which stacks a voyeur/exhibitionist fantasy on top of a racial one. Obviously racial fetishes are a tricky thing to discuss, but I will say this is a lot less demeaning than it could have been. I however must object to the cocaine usage depicted in the scene, because drugs are BAD. To paraphrase a certain former First Lady, they should have just said NO.

And the movie ends with John Holmes wandering the desert shirtless and wearing bellbottom jeans, stumbling upon Bond and Victoria Winter dressed in belly dancer outfits and having a nice and windy desert threesome. This is probably the other best scene here, as Bond and Winter both look super cute dressed as belly dancers. There may be a recurring theme here.

Tying it all together is once again Bond sucking a dick, although the dialogue seems a little less playful. (In one instance, she asks us whether we’ve ever wondered what it would be like to enjoy pain, only for the next scene to have no such element. Why would you ask the question, Rene?) But in any case, she’s still quite charming, and there’s the added pleasure of seeing her in some of the segments, so while this lacks the charge of the first film, it’s still quite enjoyable.

[creativefya]

The Gazing Artwork of Renee Cox

In chapter 3 Amelia Jones of “Seeing Differently : A history and theory of identification and the visual arts", explores fetishism in relation to the “gaze” of visual culture. The relationship between "identification” and “identity” is witnessed in the early 1990’s - early 2000’s by African-American artist Renee Cox with her series of images “exposing the interrelation between sexual and racial fetishim” (Jones, 95). 

Photographer and mixed media artist Renee Cox creates visual representations of strong black women. She simply is not interested in portraying black people as victims. Cox creates art that she coins as “another universe”. A universe of peace and self consciousness.(ReneeCox.org)  She uses black people and herself as the center of her photography. These avatars—historic characters, fierce mothers, cosmopolitan socialites, and Afro-centric superheroes—are imbued with sexual agency and resolute confidence.(Aperture.org) 

Her 1995 artwork  “Venus Hottentot” is a self portrait that “directly exposes a specific historical case of racial fetishism.”(Jones, 96)  Cox is creating a revolution with her own propaganda. Cox’s prolific photography is dominated by iconography. Her style is glaring as you are captivated by the gaze. She is looking back at the viewer looking at her. In “Venus Hottentot”, Cox uses props to exaggerate her sexual and racial “difference” while confronting the viewer with a direct stare into the camera. (Jones,96) Her presence is historical and controversial as a deliberate “in-your-face gesture”. (Jones,95) The deliberate correlation of her artwork in comparison to the brutal objectification of Sarah Baartman of the 1800s, “when people in London were able to pay two shillings apiece to gaze upon Baartman’s body in wonder. For extra pay, one could even poke her with a stick or finger.” (Eleksie.com) Cox’s deliberate “adoption of fetishism is strategic”. (Jones,98) Cox critiques roles for and the images of black women in history and contemporary visual culture with her photographic media by “projecting and freezing sexual and racial anxieties” of the fetishized glaze. (Jones,98)

REFERENCES

Amazon.com: Seeing Differently: A History and Theory of Identification and the Visual Arts

Renée Cox: A Taste of Power

Still in The Eve of Women; Sarah Baartman influence on women and fashion - Eleksie Noir

by : Andria Jones

Representing Women - UNCG -Fall 23

[ifyouknowmenahyoudontt]

I have A LOT to talk about so this is going to be a very long ask!! I’m gonna go topic by topic to make it easier!!

Racism In The Marauders Fandom

I know another anon already mentioned this, but often times people in this fandom headcanon characters as random raves without thinking about how those characters would be as those races. They ignore the overall cultural backgrounds and traditions. They make James Desi and Emmeline Asian but also just completely ignore the cultural and racial backgrounds that they would have as those races.

Also, a big thing I wanna talk about is the racism with fanon Remus:

Werewolves were based around and are metaphors for BIPOC. The fanon version of Remus is a very stereotyped “strong, aggressive alpha male who abuses his boyfriend and is a bitch to everyone”. A very racial stereotype towards many BIPOC. BIPOC are seen as “aggressive” or “abusive” in a lot of cases. Same case for werewolves. And you’re just putting him into those racial stereotypes and acting like it’s all fine because “oh, at least Sirius is getting his ptsd triggered fucked😁”

Ableism In The Marauders Fandom

People complete ignore disabilities in this fandom unless they can use it to sexualize someone. They give Regulus autism, but it’s ALWAYS the stereotyped “oh I’m just a little baby who doesn’t know what sex is😖” autism. It’s always the little baby child who’s too innocent for the world. That’s ableist. No, it’s not “projecting”, it’s ableist.

Also, never paying attention to the absolute PAIN that Remus goes through every month, but using his disability as a way to make him an aggressive top in order to sexualize him? That’s ableist as well.

Sexualization In The Marauders Fandom (Specifically sexualization of minors)

Going back to what I said about Regulus and the autism thing, people always make Regulus a “sweet immature little autistic baby😖” and then make James pound the fuck out of him. Why can’t Regulus be the top? Oh, because he’s a little child? Because he’s your little baby that you have to sexualize?

Why are you making literal minors fuck anyways? Making SIXTEEN YEAR OLDS FUCK? That’s disgusting. “Oh but they already know about sex—“ NOPE, still illegal. “Oh, but I’m a minor as well—“ DOUBLE DISGUSTING AND ILLEGAL!!

Don’t even get me started on this weird ped0 “Professor __ with student __” fics, which are also illegal and disgusting.

Fetishization

Notice how they ALWAYS oversexualize the trans characters or the queer characters or the BIPOC characters or autistic!Regulus? Yeah, that’s cause they’re fetishizing them. “Oh but—“ NOPE!! You’re fetishizing them!!

This fandom needs to wake the fuck up and realize that this type of behavior is absolutely fucking disgusting.

i love it when ppl are smart, thank you for your opinions! very interesting read!

[possessionisamyth]

you know what? im actually very happy i latched onto carlos/leon as such a rarepair, sure i get jack shit when it comes to other people making art/fic for it, but at least im not subjected to dogshit headcanons, egregious misinterpretation of the actual canon, and racial fetishization of carlos where they make him the tough strong latino papi to leon's waif-like aryan bottom nonsense i see most fans committing to

[phaedoe]

i hesitate to share the intimate details of my personal life on here -- in the same manner i hesitate to do so with even close friends more generally -- for favor of my hobbies and intellectualizations (you know, de-broglie bohm, whitehead, pink floyd, bjork, and whatnot)

in the past, the periods of solitude in which i found my refuge from difficult events would eventually return me to a state of calm. however, it has now been made harshly clear to me that i continuously protract the present retreat in a manner that brings worry to loved ones who have supported me through such times in the past. my primary intention with this post is to alleviate any undue stress or rightful confusion i caused in a way i am currently comfortable with, knowing that at times my hilariously private ass sometimes gets “stalked” by people i care about on this weird page.

in late 2021, i was diagnosed with an eating disorder. the presentation, diagnostically and of course personally, was extreme, and due to the severity of my illness, i was involuntarily hospitalized. this was financially devastating. i requested a formal leave of absence from my academic semester to enter treatment, and am proud to say i have been fully committed to my recovery since april 2022.

but if you know me and are reading this, you probably already knew that. and you also probably already knew that there is a lot this clinical briefing struggles to fulfill in delineating the much grander scope of the situation -- which most certainly includes my health and lack thereof, but ultimately cannot be reduced to it.

as briefly as possible (and really honestly, for fear of triggering it again as well as the fact that it is extremely difficult to talk about by nature), i experienced extreme intimate partner violence. my experience of the abuse was overwhelmingly verbal and psychological, although it eventually escalated to physical abuse.

i feel terrified writing this publicly. i know now in my heart i did nothing to deserve it, and though i’m ~super wordy~, i believe my prolix internal world may have magnified the traumatic nature of the similarly wordy abuse. this was all but confirmed to me when later in my ongoing recovery, when i grew healthy enough to isolate any other medical extenuating factors, i was also diagnosed with severe obsessive-compulsive disorder. i experienced abuse in the past -- incredibly common among ipv survivors -- and doubting my own perceptions is one of the “causes” of my little writing habit, as well as my very strong retainment of the contingent world through means that are entirely verbal. 

i repeatedly and incessantly heard myself as “disgusting”, “gross”, “ugly”, “full of shit”, “pathetic”, “masculine”, “a slut / slutty”, “attention-seeking”, “weak”, “high body fat”, and of course, “fat”. i was often fetishized for and reduced to my racial background while also being chastised for my ethnic heritage. it was all without provocation. this is only the short list with respect to frequency. the worst of the abuse was coincident to periods in which i was cheated on, which i knew because another and almost equally large part of the abuse was comprised of a. my being informed of the cheating and b. being frequently, cruelly compared as inferior to cheating partners, exes, passers by, and celebrities. i was made to change my fashion sense and “aesthetic”. i was suddenly yelled at, at one time while the perpetrator was driving erratically for not “behaving” properly during dinner with their family. the physical abuse occurred when i was fully and forcibly isolated, and when i think was the most traumatic period of it all, as i was thousands of miles away from home in a rural area for the first time when the entire region emptied for break. following it, i was taken into the woods (of course, verbally assaulted). i distinctly remember my fear for my own life.

because it implicated my own sanity, the psychological abuse was far more insidious. i was told i had done things i had not done and that the perpetrator had already shared this information with their social circle. i heard the perpetrator repeatedly deny the abuse and once threaten me as the real offender. i lost someone to self-inflicted death in the past, and the abuser not only taunted me with it, but implicitly threatened me with their repeating of the traumatic event. i want to reiterate that i did absolutely nothing to warrant any of this. additionally, i am ashamed to say that if not for the verbal and physical distinct manifestations of the abuse, i would have failed to recognize the calculating, controlled, and skilled manipulation at work, and the danger i was (and acknowledge that i still am) in.

i hope you understand why this period has been difficult for me and how difficult this was to write. it has proven hard to hide behind the mask of intellect. my heart is forever filled with gratitude for anyone who has taken the time off their day to read this

[creativeprojectleona]

What is sexual racism?

Having a specific partner preference for a certain race group is known as a form of discrimination. For example if a person only dates Asians, is that racist? Yes. Racism is a belief that all members of that race are the same in some way that’s superior or inferior to other race groups. Racism and dating is seen as someone seeing a group of a race as less attractive, less worthy, less than your dating and sexual expectations. Emma Tesler who works to help people find love says sexual racism is a very common thing and a thing that a lot of people experience. Making negative assumptions of big groups of individuals that you have never met based solely on the colour of their skin. But it's also about social forces shaping our preferences and we will never learn from it unless we acknowledge that. Emma recorded that 55% of her clients were white and 90% of her clients had racial preferences and 89.9% of them wanted a white partner. Our brain is known to take shortcuts when we try and think of hot people, we think of celebrities straight away, and when we try and search up hot people it will come up with mostly white celebrities. Hollywood is known to make movies about white attractive people in multidimensional roles and other racial groups not so much. It’s slowly getting better but most shows and movies still have the idea that white is good lookin, smart, successful, and basically the default. Not only this but because of the media there are also other shortcuts that our brain makes, for example black= struggle, Asian= nerdy, latinx= macho, and Muslim= foreign and so on. This isn’t just learned from the media but also school, society, family etc. Ways we can work on this is to socialise with other races and to go on dates with other races and try and retire or brain.

Where did Asian fetishisation come from?

How the page act and Asian fettish tie into each other is that the act was to “end the danger of cheap Chinese labour an immoral Chinese women”

There was a deadly Atlanta area shooting spree in 2021 which was said by the shooter that it was motivated by a sex addiction and that it wasn’t racially motivated. Even though 8 people were killed and 6 of them were Asian women. He says it's just a sexual addiction but he chose to shoot Asian run businesses yet claim the crime as not race related.

The page act didn’t allow the marriage between Asian/ people of colour to marry white people to keep white people “pure” .The page act discriminated against Asian women and stereotyped Asian women as seductress, subservient and diseased.

There’s also the likelihood of hypersexualisation contributing to the asian fetish, it roots historically + representation. There is a belief with Chinese women that have immigrated to other countries in the late 19th century that they were prostitutes or in sex work. With late 19th century movies with Asian women written by white men, there’s a fantasy around Asian female bodies and a stereotype.

Both fear and fetishization of Asian people is a concept known as orientalism, orientalism is a concept by Edward said who was a cultural literary theorist. See the bodies of the east are always represented in a particular way which is in opposition to the west.

west= strong East= weak

west= rational East= irrational

west= masculine East= feminine

Since the east is already viewed as feminine, then men in the East are viewed as masculine feminine and women are seen as hyper feminine. Orientalism can lead to sexual violence and the demasculation of Eastern men with stereo types of eastern men having small members.

kimberlé Crenshaw was a critical race theorist who took the term intersectionality which is to think about race and gender inequities not only as intertwined but also about how they actually exacerbate each other.

[sophiesblogs101]

I watched the horror movie Get Out, and I have some strong feelings about it. Let me start by saying that this movie was fantastic. This film examines racial inequality in great detail. Chris, the movie's main character, visits his girlfriends parents' house . Everything seems to be going fine until he sees some odd things. In a neighborhood full of white men, he is the lone black male. He soon understands that these people are trying to hurt him because of the color of his skin. The villain and brains behind this exhilarating encounter turns out to be his girlfriend. The community wants to exterminate the black people, which illustrates how racial injustice enters the picture. Chris was duped by the entire family into thinking they are decent people. They would even dress similarly to be close to Chris until Rose's fashion sense changed one day. She begins to dress more formally and professionally, which, in my opinion, demonstrates her sense of superiority toward him. I think Chris is being made to feel inferior by using this as an example of symbolism. Rose's family's main objective is to take Chris' body. They draw his people to the neighborhood in an effort to drive them out by making them believe they are welcome.The covert mask she has been wearing to hide her actual face expressions is finally peeping through.I sat on the edge of my seat the entire time I watched the film. The director did a fantastic job at teasing the audience. To strengthen and engross the audience, he used a variety of themes in this film.This movie's twists and turns were completely unexpected, which is what made it so intriguing. Although the director didn't base this movie on a real-life incident, he did base it on current racial injustice incidents in society. The fact that he was motivated to compose this movie by so many racist incidents strikes me as really sad and unsettling.Racial tension and cultural appropriation are used by the director as topics in the movie. For instance, it examines cultural appropriation and the fetishization of black bodies, revealing the unsettling tensions that might occur in multiracial partnerships.employs fear as a means of examining and analyzing pervasive socioeconomic problems. Its success stems not only from its capacity to frighten, but also from its incisive analysis of privilege and racism in modern America. The opinions of both black and white people are depicted in this film. Through their own eyes, it displays their opinions. The director also did a fantastic job of employing symbolism to drastically increase the tension.

[qu-film-history-to-1968]

How "Cat People" Walked so "I Walked with a Zombie" Could Run

                                                                              Dante Calabrese

Before he became a horror master, Russian immigrant Val Lewton worked as a reporter, pulp author, and MGM PR writer. Selznick respected Lewton for his professionalism, and as a result of their cooperation, Selznick offered Lewton a producing position at RKO in 1942. Films by Lewton exceeded both financial and creative limitations. He framed horror in realistic scenarios, with the brutality implied rather than explicitly depicted and the monsters growing out of those situations' human problems. "Take a sweet love story, or a story of sexual tension, about people like the rest of us," Lewton said of his method. you cut in your fear by suggestion here and there, and you have something. "Cat People" (1942) meets all of these standards needed. The set pieces in Cat People are what everyone remembers. Irena terrorizes a pet store in an early scene, which was eventually lifted for The Birds and The Omen. Alice is being pursued by an apparition as she strolls across Central Park at night. Tourneur portrays her sharply spotlighted against a spooky sidewalk covered in whirling leaves. It's a terrifying dream that is broken up by a well-known jump scare when a bus startles Alice back to reality. Afterwards, Alice hears cat meows and watery shadows by a pool, where she discovers Irena mocking her. Before Alice discovers her robe torn to pieces, the revelation looks to be a consolation. Regarding the outstanding differences of "I Walked with a Zombie". Voodoo is shockingly used in Zombie, which grounds its terror in a racial-colonialist setting. For black people who are angry about white exploitation, voodoo is a cultural touchstone. Torneur creates believable rituals that serve as a terrifying focus. Also contributing to this is Sir Lancelot's sarcastic troubadour, who sings a song mocking the Hollands and foretells "shame and sorrow for the family," as well as the fetishized figurehead of St. Sebastian with arrow holes. Lewton uses superstition as a sign of defiance even though he believes it to be humanity's fatal fault. Remember that a voodoo-inspired slave uprising was the origin of Haiti's violent revolution against France. In addition to having a more subversive edge than Cat People, Zombie also has a stronger cast. Francis Dee is significantly more interesting than Tom Conway's Cat People role because he is logical and endearingly nice. Edith Barrett, James Maxwell as the haughty doctor, and Theresa Harris as the amiable maidservant all make strong supporting appearances. Later, in Lewton's The Ghost Ship (1943) and Curse of the Cat People (1944), Sir Lancelot, who composed his own calypso ballad, made an appearance. I Walked With a Zombie turned out to be another hit for Val Lewton and is yet another illustration of how this unusual director can transform drab materials into cinematic gold. These masterpieces brought an end to a decade of noteworthy movies, some excellent, some forgettable.