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Henry Wilson
Henry Wilson

Gay Deep And Hard

YR: I'm trying to think of it like, where does White racism come from, right? If you look at the arguments that were made back in the day against miscegenation, Black and White marriage, what are they so afraid of, right? And besides that whole thing of mongrelization of the race and all of that, it must be that when you are steeped in something and taught something and believe something, and for that to be turned around, for that to be shaken up, is such a hard, unbelievable thing. Like, the whole way I thought about the world is wrong. I think that's why a lot of White people can't accept racism. I would find it very hard if I was White to be like, "Oh, all this privilege that I just thought was my natural born right, there were laws put in place that allowed it, there was violence to maintain this." That would be very hard, which is why I think most people can't deal with it.

gay deep and hard

Knowing that your child's welfare is dependent only on you is very hard. As a teacher, the pandemic has not affected my economic status. But I know other fathers who have not stopped worrying about their job security ever since the pandemic has started. They are afraid that if they are fired, no one can provide for their children. (Dor)

It is very hard for me to work from home when my child is with me all day. He is still young and needs a lot of attention. There should have been a public solution for parents who have to work from home. (Dor)

As a single parent, I have always had to care for my children and provide them with financial security at the same time. It was always hard, but during the pandemic it became unbearable to juggle between these two tasks. (Rami)

During lockdowns, it was so hard to be all alone with all the responsibility on me and with no one to share my feelings. I felt a deep desire to have someone to talk to and to lean on. Before the pandemic, I did not care much about my relationship status. But now with all the social restrictions, I feel so lonely because I have no one who is an adult who I could talk to. (Rami)

  • Cinema Journal 46.4 (2007) 121-126 Muse

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[Access article in PDF] Seizing Moving Image Pornography Jos B. Capino The proliferation of hard-core film pornography during the 1970s in the form of feature-length adult films intensified the production of sexual fantasies and sexualities through the cinema. The porno chic heralded by works such as Boys in the Sand (Wakefield Poole, 1971) and Deep Throat (Gerard Damiano, 1972) turned the motion picture apparatus and some fledgling pornographers, performers, and audiences into instruments of what Michel Foucault calls the implantation of perversions. Something of an American Kama Sutra began its intense and rapid expansion, engendering and also recording what Foucault discussed as the visible explosion of unorthodox sexualities, the analytical multiplication of pleasure, and the optimization of power that controls this new discourse of sex.1 To cite one example, the famous series of extra deep blow jobs given by Linda Lovelace, while dismissed by one contemporary feminist for being only as erotic as a tonsillectomy, nevertheless inspired much discussion, became a set piece of straight porn films, and have since been rehearsed offscreen to such a point of mastery that talk of young women with no gag reflex has become common in college dorms. Seen in this light, the visual text of porn movies is revealed to consist of much more than just filmed sex acts. They encode and disseminate practices of sexuality. They ceaselessly improvise scenarios of erotic fantasy. They generate schemes for the disposition of bodies across historical, ethical, and imaginary space. They [End Page 121] weave fugitive patterns of moving and still elements. They legislate the pleasures that should be associated with the perversions on display. One even finds in these films, just beneath the overplayed expressions of ecstasy, marks of the actors self-consciousness about performing the perversions and being seen while doing the dirty deed. Those nervous ticks and awkward gestures make visible such abstractions as the films mode of production or, to use colorful moralistic language, even the actors (and spectators ) state of concupiscence.

What Roen is denying to himself and to others who buy his script is this deep human fulfillment of knowing and being known so deeply by another human being that being away from for them an extended period of time physically hurts. What two people can share in a deeply intimate and personal relationship is, I believe, as close to divinity as human beings can get. 041b061a72


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