Thus below I analyze the remarkable similarities across the complete gay porn filmographies of four popular gay-for-pay performers – Rex Chandler, Ryan Idol, Jeremy Penn, and, of course, Jeff Stryker. The latter will observe and detail gay male sexual behavior often in an attempt to affirm his own sexuality. Where many scholars conceive of gay male pornography more along the lines of an ars erotica, I view it equally as a method of specifying or classifying gay male sexuality from the perspective of the gay-for-pay performer. “aimed at passing general knowledge from the experienced to the initiate without specifying or classifying the details of this knowledge” (Williams, 34).
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In her pioneering work on pornography, Linda Williams defines the scientia sexualis, after Michel Foucault, by opposing it to earlier, non-Western forms of knowledge production, the ars erotica, My attempt to answer these questions here depends on a conception of gay male pornography as a deployment of the scientia sexualis – a modern Western form of producing and managing knowledge of sexuality. “thoroughly shot through with pornography’s possibilities for rethinking the dominant (and dominantly frustrating) positings of the public/private divide in post-1950s America” (163).īut with some estimates setting the number of gay-for-pay performers in gay pornography as high as sixty percent, do these performers compromise those alternative world-making possibilities? Is there something at the heart of gay male porn that might taint the forging of homosexual identities? To choose just one example for now, Rich Cante and Angelo Restivo suggest that the post-Stonewall gay male subject is For many scholars, gay pornography not only helps reduce the shame surrounding sex acts between men but also contributes to the very creation of homosexual identities. Gay-for-pay performers also unsettle the frequently noted liberating properties of gay male porn. By 1997 critic Mickey Skee could claim in Shooting Porn, a documentary about the gay porn industry, that the three biggest superstars in gay pornography (Jeff Stryker, Ryan Idol, and Rex Chandler) were all heterosexual. But the practice became more openly acknowledged in the mid-1980s with the rise to stardom of gay-for-pay actor Jeff Stryker, probably the most famous performer in American gay porn history. The employment of non-gay-identified men in gay male pornography dates at least as far back as Bob Mizer’s Athletic Model Guild photographs of the mid-1940s in America if not the earliest stag films. Since the publication of these essays, however, the increased attention to gay-for-pay performers calls for more finely-tuned definitions. Similarly, Richard Dyer (1985) describes both the performers in gay porn and the audience members who watch them as “all gay men participating in a gay subculture, a situation that does not hold with heterosexual porn” (29). The first element of gay male pornography listed, under a consideration of “Relations of Production,” reads “gay male producer employs gay male models” (Waugh, 315). Straight,” Thomas Waugh schematically marks out sharp distinctions between gay and straight male pornography. For instance, in his 1985 essay “Men’s Pornography: Gay vs.
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The existence of gay-for-pay performers (men who do not identify as homosexual but who perform sexual acts with and/or for other men on camera) complicates even the most basic assumptions and analyses of gay male pornography. The gay-for-pay gaze in gay male pornography
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The gay-for-pay gaze in gay male pornography by Kevin John Bozelka, text version JUMP CUTĢ013, Jump Cut: A Review of Contemporary Media