Nothing for nothing
Edging as filmic structure in the films of Jerry Douglas
Bibliographic Data
| ID | 13086127 |
|---|---|
| Authors | Kevin John Bozelka (0000-0003-4288-7909, Bronx Community College, corresponding author) |
| Year | 2021 |
| Volume | 8 |
| Issue | 2 |
| Pages | 173-186 |
| Publication date | 2021-01-13 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Porn Studies (JOURNAL) |
| Journal identifiers | ISSN: 2326-8743 • E-ISSN: 2326-8751 |
| Publisher | Taylor & Francis (PUBLISHER • GB) |
| DOI | 10.1080/23268743.2020.1833748 |
| OpenAlex | W3119881790 |
| Language | EN |
| References cited | 10 |
Porn scholars have focused on the money shot (or cum shot) as the primary force around which feature-length visual pornography organizes its narratives. But not all such films work in this fashion. Using theories of narrative, this article will discuss how the films and videos of Jerry Douglas mimic the practice of edging, a masturbation technique whereby one holds off climax as long as possible. Instead of achieving closure, many of Douglas’ films ‘edge out’ the narrative towards an ending that leaves tensions in suspension. An analysis of Douglas’ filmography provides a deeper understanding of the operations of pornographic narratives and contributes to the understanding of the centrality of pornography in establishing urban, post-Stonewall gay male identities
Aesthetics · Art · Centrality · Closure (psychology · Epistemology · Filmography · Literature · Movie theater · Narrative · Nothing · Political science · Pornography · Psychoanalysis · Shot (pellet · Sociology · Chemistry · Cinema and Media Studies · Gender, Feminism, and Media · History · Law · Philosophy · Psychology · Sexuality, Behavior, and Technology
| Citation velocity | historical |
|---|---|
| Highly cited | No |