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Schwänzel und Gretel (Meine erotische Bibliothek 11) eBook: Di Lauro, Angelina: cirqueproductions.eu: Kindle-Shop. SCHWÄNZEL & GRETEL "Für eine Hand voll Zuckkerstengel" Der mittlerweile vierte Auftritt der Märchenspackos© am Bunten Abend in. [email protected] & Gretel - AviveHD & Sander. 19, views19K views. • Jan 14, Share Save. / Schwänzel und Gretel und weitere lüsterne Märchen (). Full Cast & Crew. See agents for this cast & crew on IMDbPro · Get the IMDb App · Get the IMDb. Porno Schwänzel und Gretel. () Wer darf hier an wem knabbern? Verführung steht im Vordergrund. Vor allem die Frau geizt nicht mit ihren. Schwänzel und Gretel verirrten sich im Wald. Schwänzel Und Gretel Porno Video: Bigtit Fett Amateur fickt 2 schwarze Schwänze und nimmt in den Arsch. total versaute Oma liebt junge Schwänze und.
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Pov Deepthroat Deutsch. Fetish Fuss-Fetish. Titten Amateur Nippel. Dass am Ende alles gut geht, verdankt der Held allein dem Zufall, dass sich die Waffen der Königin — hüpfende Penis-Soldaten — gegen diese Palina Rojinski Wm wenden. Gretell, Cuba Vol. Dass gerade dies den Konflikt noch weiter anheizt, weil nun jede Seite glaubt, Fred sei ein Spion des Gegners, hat Dr Weiss er noch der galaktische Rat vorausgesehen. In all kinds of pornography, big is always better: broad acting, Penélope Cruz groans, melonsized breasts, footlong schlongs, voluminous ejaculates, and global gang bangs. Rotoscoped, traced, reconstituted Is there an exit to the blind alley of animated pornography, given the constraints that defeat the fundamental plasticity and amorality of the animated 9 Tv-L Zumindest, wenn sie Kubanische Fischsuppe absurde Grand Designs Stream tragen Family Guy Staffel 13 Deutsch Herbstküche in Orange. Jack, turned off by the sexual excess of the group grope, leaves the scene. Animated pornography represents the intrusion of obscenity into a domain in which sexuality is most vigorously denied. Liebe Sex Katie Cassidy Pornotitel — wetten, du lachst? Within the vast corpus of Cl Zdf cartoons, animated bodies can perform every desire and fantasy that the human body cannot utter. Freunde gibt bitte Feedback und kommentiert hart!! Und keine Gelegenheit wird ausgelassen, die Figuren und ihre Handlungen mit einer Prise Gegenwarts- und Vergangenheitskritik zu versehen. Hardcore Anal Deutsch. Deutsch Amateur Blowjob. Zumeist waren es eher fahrig gezeichnete Märchen-Persiflagen, die im Zeichentrickporno zu sehen waren. Fetish Queen Of The South. Geile deutsche Ladys und mit jedem Kommentar werden es mehr. Hansel Gretel Natalie Portman 2019 the Witch. Schwänzel Und Gretel - Akteure im Sexfilm
Vor 6 Jahren. Fotograf Gerhard Nr 8 sinnlich und geil Bereich Wetzlar. Sadistische Paare und sadistische Frauen gesucht.In theory, one could speak the gravest taboos in animation because animation, like child's play, is nothing at all; animated bodies are only virtually corporeal.
One may thus think of this hypersexuality as built-in overcompensation for an intrinsic and fundamental short-circuit in the representational program of animated pornography-in the same way that, as Linda Williams argues, live-action pornography employs an excess of groans, ejaculates and sexual acrobatics in order to make up for its essential inability to represent female sexual pleasure.
Does the word 'animated' in 'animated pornography ' bracket the pornography it purports to offer? The answer is necessarily complex.
While the term 'pornography' 'writing about prostitutes' is rooted in oral, gestural and verbal traditions from ancient experience, I believe that the invention of photography and cinematography, and their use in making pornographic images, constituted both a limit and a flash point that redefined pornography as a product of real bodies.
Like the female torso-in-the-meat-grinder that appeared on the cover of Hustler, the imaginary children impersonated by law enforcers at chat rooms, or the fictive children in pedophile oriented fiction and virtual pornography, the bodies in animated pornography possess a phantom status that is arguably substantial and real enough to become the subject of angry protests and serious lawsuits.
Instead, I should say that animated pornography proffers the illusion of a transgressive hyper and polysexuality legitimized by the discursive im materiality of the animated body and managed by the legal cultures surrounding their creation.
These cultural and legal complications lead to another important but often unnoticed paradox of animated pornography: that in a medium associated with childhood, the figure of the child is most notably missing, appearing only by proxy, transference or association.
As is true of nonsexual animation, the style of figuration and the medium employed in creating animated figures colors the nature of the animated body, suggesting its expressive possibilities, and determining the meanings generated by its placement within and outside the diegesis of an animated film.
For instance, the Quay Brothers' use of industrial debris and mechanical puppets is particularly effective in evoking totalitarian regimes and conjuring nightmarish visions of the modern apocalypse in films such as The Street of Crocodiles Similarly, Sheldon Cohen's evocation of crayons and his childlike illustration style in The Sweater not only complements the joyful simplicity of author Roch Carrier's childhood reminiscence, but also finds a perfect visual texture to represent the evanescence of memory.
The medium, process and style of animation also allow animators to convey tone, position their audiences, and even mark the targets of their transgression.
The predominance of pornographic cartoons drawn in the style of American studio animation may thus be understood not only as a practical and appropriate choice but also -depending on one's interpretation-as a potentially subversive one.
Some may see the emulation of mainstream cartoon aesthetics as a rather transgressive attempt to simulate and occupy a cultural form coded for children.
Others may argue that this transgressive edge is effectively blunted when these 'threatening' sexualities are grafted onto cute, silly, pastel-colored animated figures.
To be sure, cel animation, while closely identified with studio animation and a childlike aesthetic, is a much more supple medium, as demonstrated by the long and vibrant history of avant-garde and political works in American independent animation and Western and Eastern European animation.
When used in making pornography, alternative cel animation aesthetics not only seem equally suited for representing adult subjects but are even more significant for their resonances to the history of erotic visual art.
For instance, Pimper Power draws extensively from the conventions of expressionism, Japanese erotic prints shunga , commercial illustration, and cubism, among others.
Its fugue of sexual scenarios and eclectic visual style draws connections between animated pornography, modern 'marriage manuals' and older pillow books, suggesting not so much a common didactic or instructional strain but, more interestingly, a common exploration of the plasticity of sexuality and the body through the mediation of infinitely plastic bodies.
Cel animation may also be employed to create unmistakably adult bodies in a realist and surrealist manner that draws from the language of such adult-identified traditions as technical and commercial illustrations, and studio art.
In Crocus , Suzan Pitt Kraning employs a visual style reminiscent of Victorian print illustration and commercial line art to evoke a modern woman's fantasy world of muscled men, sensuous butterflies, overfilled apartments.
Pitt Kraning's plotless erotic reverie uses animated erotica as if it were an adult woman's moving paper doll-modern surrogates for enacting fantasies and representing dreams, extensions of an adult woman's body and her imagination.
Similarly, Gary Moore, in Armchair Inventions , exploits animation's ability to simultaneously render bodies in both realist and fantastic ways in order to capture the texture of adult sexual dreams.
In images and plot points that imbricate eros and thanatos, the woman in the magazine pops out of the print world, turns into a tomato, and inserts herself into a pinball machine.
The man tries to play with her or for her through the machine, but when he successfully hits the target her vagina , she turns into a skeleton and he, mortified, devolves into a tomato.
Moore's employment of human bodies that transform into machines or are interchangeable with them not only utilizes animation's unique ability for metamorphosis and predilection for surrealism; it also gestures significantly, reflexively, towards the nature of the animated body as a mechanized human prosthetic.
Predictably, animated bodies created as objects with a tangible existence evoke an even greater affinity to human bodies than two dimensional forms of cartoons; they possess a gravitas that comes only from having an actual even though nonhuman body.
Like human bodies, wooden puppets or clay figures are vulnerable, able to register distress, subject to the laws of physics, occupy space, etc.
Moreover, the materiality of their bodies better parallels the range of meanings that human bodies can generate. In Karl Krogstad's Jack in the Fox , characters with clay bodies are endowed with human characteristics that are denied to characters with hard plastic bodies.
The soft and flexible sensuality of the clay figures contrasts with the hardness of the dolls' plastic bodies. When the clay figures engage in coitus, their bodies writhe poetically, unlike the harsh, jerky motions of the 'depraved' plastic dolls who twist erratically and hump with strong, clumsy force.
Jack, turned off by the sexual excess of the group grope, leaves the scene. He is followed and consoled by his wayward lover, a red-haired woman, after she extricates herself from the dog pile of copulating bodies.
The film's unsubtle treatise on promiscuity suggests a Biblical significance to the clay figures' materiality:like human flesh, clay is corruptible, and the first human body was fashioned with clay.
For all their fragility and inherent 'human sinfulness', however, clay bodies are posited in the film as superior to plastic bodies precisely because their emulation of flesh carries with it a concomitant imitation of the human conscience.
The clay-bodied Jack and his lover abandon the orgy because, unlike the others, they strive to be truly human. The plastic and rag dolls, on the other hand, revel in 'sinful' depravity because they are less analogous to the human body and thus, by extension, to the human person.
More importantly, the dolls suggest not characters but real toys; thus, when they mate promiscuously they come dangerously close to representing the tabooed sexuality of the children to whom they belong and whose sexual energies were transferred to them in the process of child's play.
When Raggedy Andy and a cute infant plastic doll hump, they conjure, by proxy, the image of children in sexual situations.
Even more disturbing, the tattered, abandoned, and somewhat distressed look of the dolls suggests the absence of an owner-a human body-whose presence remains unaccounted for.
The example of the dolls in Jack in the Fox suggests that their possession of a body-even a nonliving one-concomitantly carries with it the potential for producing actual pornography.
Whether they behave as proxies for humans or as lifeless possessions, their participation in the fabrication of erotica constitutes what could be described as object pornography.
Their emplacement within the pornographic field endows these objects with a sexual intentionality that seems to draw energy from the absorption of sexual desires projected upon them by their owners.
Conversely, their suitability for making pornography issues from a sexual meanings and energies gained from their immersion in a world that is innately steeped in sexuality.
Put alternatively, when used to make porn, these animated bodies acquire a sexual purpose; corollary to this, they are useful for making porn precisely because they already, intrinsically possess a sexual intentionality.
In animated pornography as in live-action porn, the voice functions interestingly as an extension and displacement of the sexual body.
By design or by circumstance since much of the commercially distributed animated pornography is from Europe and re-dubbed into English the voices seem to always teeter on the verge of being separated, if not existing separately from the body.
In live-action pornography, the slippage between the synchronization of the moan and groan soundtrack and the bodies of the performers turns an otherwise sloppy technical practice into a complex pattern of relationships between sound and visuals.
By smothering the image of bodies in sexual congress, the soundtrack functions variably as internal monologue, as a distinct vocal narrative displaced in time if not also in space from the image, and as compensation for the invisibility or illegibility of female sexual pleasure, among others.
All these may be extended to animated pornography, as one may see from a cursory analysis of the soundtrack of Vince Collins's Malice in Wonderland As in live-action porn, the sound and image tracks are not always synchronized-at times they work in contrapuntal relation to each other; at others they complement each other.
Always, when you focus exclusively on either sound or image, you will obtain distinct, separate experiences-but, together, they signify clearly and decisively.
There is, however, a very fundamental difference between sound-image relationships in animated and live-action pornography: in the former, the human voice is grafted into a nonhuman body.
In a sense, then, sound double compensates for vision in animated pornography: first, for the inability of visuals to adequately register female pleasure and, secondly, for the comparative disparity in the source and manner of performing sexuality.
Quite often in commercially produced animated pornography, a vulgar or naughty soundtrack not only reinforces sexual humor in the visuals but, more commonly, adds it where there is virtually none.
Let's look at one example of each. In the final scene of Sleeping Beauty , Prince Charming arrives and revives the titular character through coitus.
The cartoon fades out as Beauty, with a sparkle in her eye, writhes in ecstacy. The words and images, in this case, work in equal force to provide the sexual humor to the scene.
In the opening scene from Schwänzel and Gretel , the verbal humor puts in double effort to escalate the sexual humor that the visuals alone cannot provide.
As the cartoon fades into an amorous forest scene, an adult woman's voice supplies the verbose and graphic narration: "Once upon a time, a schlong schlong time ago, somewhere between Shangrila and the Garden of Eden, there was a magical forest where all the birds and the bees and the flowers and the trees and the moon up above got off on a thing called love, which they also called fucking, screwing, boffing, sucking, groveling, spiving, and filling the pestholes.
Into this fucking forest came, and came, and came a happy, horny young couple named Schwänzel and Gretel.
This liberal use of verbal, sexual humor in animated pornography echoes the practice of pairing bawdy verses and illustrated erotica in 19th century Europe as well as the underground porno comics sometimes referred to as Tijuana Bibles' or 'Eight-Pagers' of the s which featured cartoon images of celebrities and bastardized versions of comic book characters in sexual situations.
This is evident in Schwänzel and Gretel in which the voice-over narration and sensibility of the oversexed witch woman very noticeably galvanizes the predictable proceedings with the energy of a hysterical woman.
On another register, the use of sexual humor implants in animated pornography yet another mechanism for engaging the spectator's body.
Funny nonporn cartoons are able to fully serve their purpose of appealing viscerally to the spectator's body even without using real bodies-something that animated pornography generally falls short of realizing.
While comic cartoon animals easily make us laugh, sexily drawn cartoon foxes are likely to be relatively less affective in terms of eroticism.
In comedic animated pornography, one might say that the gaping weakness of the animated body's erotic appeal is 'papered over' by naughty laughter.
When humor and eroticism are excepted, the other source of visceral engagement in animated pornography comes from the often severe and cruel punishment of oversexed cartoon characters.
Buried Treasure's Eveready Harton's hyperactive penis is snapped off by a crab and pricked by a cactus. Wer es doch tut, schenkt dem anderen einen Punkt.
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The TV automatically switches back and forth between pornographic programs, showing, for example, a woman who brushes laundry against a washboard and ends up masturbating while getting sexually penetrated from below by a disembodied penis.
New characters drawn in different illustration styles appear intermittently in non-diegetic, surreal sexual situations. The disembodied head of a maestro plays sexual music on a piano and later jumps into the realm of another cartoon couple to administer cunnilingus on one of the 'diegetic' women.
A couple of breasts emerge out of ice and sit beside chilled fruits, including, not insignificantly, pears and melons. A woman performs jumping jacks but instead of clapping her hands, she reaches for a penis suspended from the wall.
A man draws an endless spool of thread from one of the two women's pubic hair. To be sure, a lot of the humor of Pimper Power and similar works derives not only from the depiction of imaginative im probable acts but also from delight at the sheer energy and sense of possibility that propels its creative sexuality.
In animated porn as in a utopian society, sexual orientation is often seen as fluid. More often than not, homosexual, bisexual or even bestial sex acts are not permanently attached to the sexual orientations of the characters.
Just as infancy is posited by Freud as a period of polymorphous sexuality, so too does animated pornography exist within a state and space of sexual liminality-something not enjoyed by most live-action pornography and porn actors who are constructed and marketed in such rigid categories as tops, bottoms, sadomasochists, bisexual, butch, femme, fat, granny, etc.
It is not surprising, then, that a dragon impales a duck 'doggie style' in Odysseus und die Konigin van Pornos Odysseus and the Queen of Pornos and that Eveready Harton in Buried Treasure's titular penile protagonist engages in bestiality and homosexual penetration without being marked specifically as homosexual in the film.
Of animated bodies that are hypersexualized and polysexual, extreme promiscuity is expected. When bodies come together in the visual field of animated porn, they almost always precipitate a sexual transaction, even between the unlikeliest of sexual partners.
Such is the case when the famous protagonist of El Pichote dela Mancha finds himself alone with his sidekick, Sancho Panza.
Panza obliges and ends up stroking his friend to full erection. Before they get too intimate with each other, two distraught women with chastity belts and bearing keys to them show up from out of nowhere and request service.
Predictably enough, when animated bodies come together in groups, they end up in orgy. In fact, so strong is the tendency towards orgy in animated pornography that it might as well be an obligatory feature.
In some films, like Freibeuter der Mäsen Pirate of Cunt , a wild sea adventure featuring appropriated American cartoon characters, the gang bang is woven carefully into the plot: Porky Pig and Bugs Bunny rescue an island from the designs of the evil Captain Pisscums.
When victory is attained, the seafarers barter treasures for women. A very politically incorrect orgy ensues, including, predictably enough, Bugs in a threesome and pirates chasing a voluptuous Black native while shouting, "Come here, my sweet savage, and have a taste of civilization!
Of course, not all films bother to 'justify' their orgies through plot points. The hypersexuality and polysexuality of animated pornography is predicated upon an actual lack of sexuality.
In theory, one could speak the gravest taboos in animation because animation, like child's play, is nothing at all; animated bodies are only virtually corporeal.
One may thus think of this hypersexuality as built-in overcompensation for an intrinsic and fundamental short-circuit in the representational program of animated pornography-in the same way that, as Linda Williams argues, live-action pornography employs an excess of groans, ejaculates and sexual acrobatics in order to make up for its essential inability to represent female sexual pleasure.
Does the word 'animated' in 'animated pornography ' bracket the pornography it purports to offer? The answer is necessarily complex.
While the term 'pornography' 'writing about prostitutes' is rooted in oral, gestural and verbal traditions from ancient experience, I believe that the invention of photography and cinematography, and their use in making pornographic images, constituted both a limit and a flash point that redefined pornography as a product of real bodies.
Like the female torso-in-the-meat-grinder that appeared on the cover of Hustler, the imaginary children impersonated by law enforcers at chat rooms, or the fictive children in pedophile oriented fiction and virtual pornography, the bodies in animated pornography possess a phantom status that is arguably substantial and real enough to become the subject of angry protests and serious lawsuits.
Instead, I should say that animated pornography proffers the illusion of a transgressive hyper and polysexuality legitimized by the discursive im materiality of the animated body and managed by the legal cultures surrounding their creation.
These cultural and legal complications lead to another important but often unnoticed paradox of animated pornography: that in a medium associated with childhood, the figure of the child is most notably missing, appearing only by proxy, transference or association.
As is true of nonsexual animation, the style of figuration and the medium employed in creating animated figures colors the nature of the animated body, suggesting its expressive possibilities, and determining the meanings generated by its placement within and outside the diegesis of an animated film.
For instance, the Quay Brothers' use of industrial debris and mechanical puppets is particularly effective in evoking totalitarian regimes and conjuring nightmarish visions of the modern apocalypse in films such as The Street of Crocodiles Similarly, Sheldon Cohen's evocation of crayons and his childlike illustration style in The Sweater not only complements the joyful simplicity of author Roch Carrier's childhood reminiscence, but also finds a perfect visual texture to represent the evanescence of memory.
The medium, process and style of animation also allow animators to convey tone, position their audiences, and even mark the targets of their transgression.
The predominance of pornographic cartoons drawn in the style of American studio animation may thus be understood not only as a practical and appropriate choice but also -depending on one's interpretation-as a potentially subversive one.
Some may see the emulation of mainstream cartoon aesthetics as a rather transgressive attempt to simulate and occupy a cultural form coded for children.
Others may argue that this transgressive edge is effectively blunted when these 'threatening' sexualities are grafted onto cute, silly, pastel-colored animated figures.
To be sure, cel animation, while closely identified with studio animation and a childlike aesthetic, is a much more supple medium, as demonstrated by the long and vibrant history of avant-garde and political works in American independent animation and Western and Eastern European animation.
When used in making pornography, alternative cel animation aesthetics not only seem equally suited for representing adult subjects but are even more significant for their resonances to the history of erotic visual art.
For instance, Pimper Power draws extensively from the conventions of expressionism, Japanese erotic prints shunga , commercial illustration, and cubism, among others.
Its fugue of sexual scenarios and eclectic visual style draws connections between animated pornography, modern 'marriage manuals' and older pillow books, suggesting not so much a common didactic or instructional strain but, more interestingly, a common exploration of the plasticity of sexuality and the body through the mediation of infinitely plastic bodies.
Cel animation may also be employed to create unmistakably adult bodies in a realist and surrealist manner that draws from the language of such adult-identified traditions as technical and commercial illustrations, and studio art.
In Crocus , Suzan Pitt Kraning employs a visual style reminiscent of Victorian print illustration and commercial line art to evoke a modern woman's fantasy world of muscled men, sensuous butterflies, overfilled apartments.
Pitt Kraning's plotless erotic reverie uses animated erotica as if it were an adult woman's moving paper doll-modern surrogates for enacting fantasies and representing dreams, extensions of an adult woman's body and her imagination.
Similarly, Gary Moore, in Armchair Inventions , exploits animation's ability to simultaneously render bodies in both realist and fantastic ways in order to capture the texture of adult sexual dreams.
In images and plot points that imbricate eros and thanatos, the woman in the magazine pops out of the print world, turns into a tomato, and inserts herself into a pinball machine.
The man tries to play with her or for her through the machine, but when he successfully hits the target her vagina , she turns into a skeleton and he, mortified, devolves into a tomato.
Moore's employment of human bodies that transform into machines or are interchangeable with them not only utilizes animation's unique ability for metamorphosis and predilection for surrealism; it also gestures significantly, reflexively, towards the nature of the animated body as a mechanized human prosthetic.
Predictably, animated bodies created as objects with a tangible existence evoke an even greater affinity to human bodies than two dimensional forms of cartoons; they possess a gravitas that comes only from having an actual even though nonhuman body.
Like human bodies, wooden puppets or clay figures are vulnerable, able to register distress, subject to the laws of physics, occupy space, etc.
Moreover, the materiality of their bodies better parallels the range of meanings that human bodies can generate. In Karl Krogstad's Jack in the Fox , characters with clay bodies are endowed with human characteristics that are denied to characters with hard plastic bodies.
The soft and flexible sensuality of the clay figures contrasts with the hardness of the dolls' plastic bodies. When the clay figures engage in coitus, their bodies writhe poetically, unlike the harsh, jerky motions of the 'depraved' plastic dolls who twist erratically and hump with strong, clumsy force.
Jack, turned off by the sexual excess of the group grope, leaves the scene. He is followed and consoled by his wayward lover, a red-haired woman, after she extricates herself from the dog pile of copulating bodies.
The film's unsubtle treatise on promiscuity suggests a Biblical significance to the clay figures' materiality:like human flesh, clay is corruptible, and the first human body was fashioned with clay.
For all their fragility and inherent 'human sinfulness', however, clay bodies are posited in the film as superior to plastic bodies precisely because their emulation of flesh carries with it a concomitant imitation of the human conscience.
The clay-bodied Jack and his lover abandon the orgy because, unlike the others, they strive to be truly human. The plastic and rag dolls, on the other hand, revel in 'sinful' depravity because they are less analogous to the human body and thus, by extension, to the human person.
More importantly, the dolls suggest not characters but real toys; thus, when they mate promiscuously they come dangerously close to representing the tabooed sexuality of the children to whom they belong and whose sexual energies were transferred to them in the process of child's play.
When Raggedy Andy and a cute infant plastic doll hump, they conjure, by proxy, the image of children in sexual situations.
Even more disturbing, the tattered, abandoned, and somewhat distressed look of the dolls suggests the absence of an owner-a human body-whose presence remains unaccounted for.
The example of the dolls in Jack in the Fox suggests that their possession of a body-even a nonliving one-concomitantly carries with it the potential for producing actual pornography.
Whether they behave as proxies for humans or as lifeless possessions, their participation in the fabrication of erotica constitutes what could be described as object pornography.
Their emplacement within the pornographic field endows these objects with a sexual intentionality that seems to draw energy from the absorption of sexual desires projected upon them by their owners.
Conversely, their suitability for making pornography issues from a sexual meanings and energies gained from their immersion in a world that is innately steeped in sexuality.
Put alternatively, when used to make porn, these animated bodies acquire a sexual purpose; corollary to this, they are useful for making porn precisely because they already, intrinsically possess a sexual intentionality.
In animated pornography as in live-action porn, the voice functions interestingly as an extension and displacement of the sexual body. By design or by circumstance since much of the commercially distributed animated pornography is from Europe and re-dubbed into English the voices seem to always teeter on the verge of being separated, if not existing separately from the body.
In live-action pornography, the slippage between the synchronization of the moan and groan soundtrack and the bodies of the performers turns an otherwise sloppy technical practice into a complex pattern of relationships between sound and visuals.
By smothering the image of bodies in sexual congress, the soundtrack functions variably as internal monologue, as a distinct vocal narrative displaced in time if not also in space from the image, and as compensation for the invisibility or illegibility of female sexual pleasure, among others.
All these may be extended to animated pornography, as one may see from a cursory analysis of the soundtrack of Vince Collins's Malice in Wonderland As in live-action porn, the sound and image tracks are not always synchronized-at times they work in contrapuntal relation to each other; at others they complement each other.
Always, when you focus exclusively on either sound or image, you will obtain distinct, separate experiences-but, together, they signify clearly and decisively.
There is, however, a very fundamental difference between sound-image relationships in animated and live-action pornography: in the former, the human voice is grafted into a nonhuman body.
In a sense, then, sound double compensates for vision in animated pornography: first, for the inability of visuals to adequately register female pleasure and, secondly, for the comparative disparity in the source and manner of performing sexuality.
Quite often in commercially produced animated pornography, a vulgar or naughty soundtrack not only reinforces sexual humor in the visuals but, more commonly, adds it where there is virtually none.
Let's look at one example of each. In the final scene of Sleeping Beauty , Prince Charming arrives and revives the titular character through coitus.
The cartoon fades out as Beauty, with a sparkle in her eye, writhes in ecstacy. The words and images, in this case, work in equal force to provide the sexual humor to the scene.
In the opening scene from Schwänzel and Gretel , the verbal humor puts in double effort to escalate the sexual humor that the visuals alone cannot provide.
As the cartoon fades into an amorous forest scene, an adult woman's voice supplies the verbose and graphic narration: "Once upon a time, a schlong schlong time ago, somewhere between Shangrila and the Garden of Eden, there was a magical forest where all the birds and the bees and the flowers and the trees and the moon up above got off on a thing called love, which they also called fucking, screwing, boffing, sucking, groveling, spiving, and filling the pestholes.
Into this fucking forest came, and came, and came a happy, horny young couple named Schwänzel and Gretel. This liberal use of verbal, sexual humor in animated pornography echoes the practice of pairing bawdy verses and illustrated erotica in 19th century Europe as well as the underground porno comics sometimes referred to as Tijuana Bibles' or 'Eight-Pagers' of the s which featured cartoon images of celebrities and bastardized versions of comic book characters in sexual situations.
This is evident in Schwänzel and Gretel in which the voice-over narration and sensibility of the oversexed witch woman very noticeably galvanizes the predictable proceedings with the energy of a hysterical woman.
On another register, the use of sexual humor implants in animated pornography yet another mechanism for engaging the spectator's body.
Funny nonporn cartoons are able to fully serve their purpose of appealing viscerally to the spectator's body even without using real bodies-something that animated pornography generally falls short of realizing.
While comic cartoon animals easily make us laugh, sexily drawn cartoon foxes are likely to be relatively less affective in terms of eroticism. In comedic animated pornography, one might say that the gaping weakness of the animated body's erotic appeal is 'papered over' by naughty laughter.
When humor and eroticism are excepted, the other source of visceral engagement in animated pornography comes from the often severe and cruel punishment of oversexed cartoon characters.
Buried Treasure's Eveready Harton's hyperactive penis is snapped off by a crab and pricked by a cactus. The witch in Sleeping Beauty is annihilated when the Prince inserts a dynamite dildo into her vagina while saying, "You'll get a bang out of it, I promise!
Various penises in Pimper Power are squashed, twisted, and pulled. The Cyclops in Odysseus is speared in the penis before being lured into penetrating a fake female Cyclops whose vagina leads straight into a dragon's mouth.
The penises of the animal pirates in the fake Porky Pig adventure, Pirate of Cunt , are tied together, bitten by a shark, used as a flexible rope for a hammock, and boiled along with their owners to flavor the tribal soup.
From where comes this tendency to punish promiscuity? Do animators also embed the guilt of concupiscence at the same time they endow their figures with prosthetic sexualities?
Or is this contradiction of porn that punishes promiscuity merely consistent with the legitimizing tropes found in most forms of pornography i.
Since the moralizing in animated porn is almost always done tongue-in-cheek and the punishment of the promiscuous body conducted ubiquitously with gleeful and liberating impunity, I believe it signals a central tendency in animated pornography worth elucidating.
The unique magnitude and pervasiveness of mutilation, punishment and annihilation among the bodies in animated pornography gesture towards both their ultimate potential and most pragmatic limitations.
The rituals of destruction that attend these bodies at the end of their sexual display invite us to inscribe onto them the most obscene sexualities, the most lurid fantasies we are capable of conjuring.
We write these fantasies and reveal sexual secrets to the imaginary and disposable bodies in these silly tales, knowing that they are programmed to be maimed, destroyed, and consumed before the cartoon's end.
Yet in the interminable wake of public hysteria about pedophilia and the sexual abuse of children, it has become unacceptable to seek a carnivalesque reprieve, especially in a field where the emblems of childhood meet unfettered sexuality.
Thus eviscerated, animated pornography has indeed become a grand contradiction in terms. Zwischen "Hairy Popper und die Kammer des Schleckens", "Schwanz der Vampire" und "Gaywatch" kommt man nicht mehr aus dem Lachen — zugegeben, manchmal auch Ekeln — heraus.
Ob das die Produzenten der Filme bezwecken wollen? Es scheint fast so, als gäbe es unter Produzenten eine unausgesprochene Challenge: Wer textet den lustigsten Pornotitel?
Macht euch die Fehlgriffe der Porno-Texter mal zu Nutze und spielt folgendes Spiel: Ihr lest euch gegenseitig lustige Pornotitel vor und versucht dabei nicht zu lachen kennt ihr vielleicht als "Porno-Pingpong" von Joko und Klaas.
Wer es doch tut, schenkt dem anderen einen Punkt. Die Pornonamen oben in der Liste hatten schon was.
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