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    Miller-Young uses a mixed methodology to explore these strategies of agency, delving into archives of pornographic photographs, films and promotional materials; interviewing porn stars; and performing her own on-set observations of porn productions. She effectively shows that, even as the stereotype of the hypersexual black woman has morphed over the years and technologies of representation have changed, black women have found ways to benefit from their own participation in pornography. Miller-Young traces the roots of American racial voyeurism to the slave auction and early racial science, showing how practices of looking allowed white men to both indulge and disavow their desire for black women. After slavery, black women used sexual labour e. Her reading of these small motions occasionally feels strained, but it does offer a compelling portrait of small resistances under conditions of great constraint.
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    Transforming Pornography: Black Porn for Black Women – Guernica

    Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required. To get the free app, enter your mobile phone number. Would you like to tell us about a lower price? A Taste for Brown Sugar boldly takes on representations of black women's sexuality in the porn industry. It is based on Mireille Miller-Young's extensive archival research and her interviews with dozens of women who have worked in the adult entertainment industry since the s. The women share their thoughts about desire and eroticism, black women's sexuality and representation, and ambition and the need to make ends meet.
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    The Italian photojournalist Michele Siblioni documents nightlife in Kampala, Uganda mostly in the neighborhoods of Kansanga and Bunga: Strip clubs, bars and sex workers are his main subjects. When Siblioni asks why she got the tattoo, she says she likes penises and sex. It is this type of back and forth between Siblioni and his models, that draws your attention to his exoticizing of black female sexuality. The project is now a book, Fuck It.
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    I was naive about the sexual liberation movement, and had never considered whether or not my decision to flaunt my sexuality on screen was a feminist act. I had never wondered whether fighting for the right to be both mother and sex worker was part of a greater fight for the rights of women around the world. I certainly had never given thought to whether my choice to be tied up, disciplined, and fucked by men and women on film contributed to sexual freedom. All I knew was that I alone was responsible for my body, my life, my sexuality, and my bills.
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