GODASSES TRILOGY - Screening Calendar
2022 - November: Porny Days Film and Arts Festival Zürich, Official Selection
2022 - November: QUEERSICHT Film Festival, Bern, Official Selection
2022 - October: Porn Film Festival Berlin, Official Selection
2022 - October: Athens Porn Film Festival, Official Selection
2022 - October: Otherness Archive London, Group Show
2022 - September: Fish&Chips: Torino International Erotic Film Festival, Official Selection
2022 - September: Luststreifen Film Festival, Basel, International Competition
2022 - September: Le Fessestival, Geneve, Official Selection
2022 - September: Homography - Queer Festival of Film and Performance, Brussels, Official Selection
2022 - September: Queergestreift Film Festival, Official Selection
2022 - August: 'PRONOUNced', Phoenix Arts Center Brighton
2022 - August: Porn Film Festival San Francisco, Official Selection
2022 - June: Post-Porn Film Festival Warsaw, Official Selection
2022 - April: Brussels Porn Film Festival, International Competition
2022 - April: Porn Film Festival Vienna, International Competition
2022 - March: Porn Film Festival Innsbruck, Official Selection
2022 - March: Porn Film Nights Graz, Official Selection
2021 - October: Porn Film Festival Vienna, World Premiere & Opening Film
GODASSES – Part III : Jamal Phoenix
For the final instalment in his GODASSES trilogy, Emre Busse conspires with trans porn talent Jamal Phoenix to redefine the desirable body outside of a hegemonic society’s normative restrictions and, because of the specific relationship that pornographic images have to their audience, fuck with a viewer’s assumed self-assurance as being a coherent sexual subject.
Porn’s specificity as a particular genre of representation lies in its almost visceral appeal to the spectator’s body as it elicits immediate somatic response; Richard Dyer speaks of pornography’s ability to “move” the body. The spectator suddenly feels their body, which manifests itself as something distinct over which we do not have full control. Pornography is not recognized by our intellect alone but, at least partly, perceived through bodily or emotional responses.
Thus, even the bodies of spectators that do not identify as gay might be moved upon encountering the scopophilic richness of Jamal Phoenix’ FTM body in action with other men: the body might move in ways that the mind did not anticipate. As a result of this disordering, or the apparent dissonance between mind and body that one possibly experiences, the genitals ultimately take off from binary sexed bodies and are merely immersed in a collective pursuit oriented towards the intensification of pleasure.