The Black Body in Ecstasy: Reading Race, Reading Pornography (Next Wave: New Directions in Women's Studies)
Jennifer Christine Nash
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particularly interested in creating cultural space for women's pleasures, they were committed to dismantling sexual hierarchies and promoting sexual diversity.54 As a result, this project actively contested the installation of certain sexual practices as “feminist.” Indeed, sex-radicals refused to interpret either viewing pornography or opposing pornography as necessarily feminist, and instead argued that feminism's purview did not include moral judgments. Amber Hollibaugh asserts, “Feminism
makes a transgressive claim about the fundamental sameness of bodies even as that claim is packaged, quite literally, in the promise of difference. Rather than exposing that “black women do it differently,” the film shows that sexual practices are identical across the imagined color line, that the black throat and the white throat are, in fact, equivalent. In so doing, the film gestures to a larger productive tension in the Silver Age all-black and interracial markets. While racialized
18 Miller-Young, “A Taste for Brown Sugar,” 146. 19 See Shimizu's Hypersexuality of Race for more on the trope of racialized bodies’ “hypersexuality.” 20 I discuss the interracial scene in Behind the Green Door in greater detail in chapter 2. 21 This fetishization of the money shot is, of course, not something found only in Behind the Green Door. Linda Williams notes that Deep Throat, the film which comically located the female protagonist's clitoris in her throat, was instrumental in making
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