How do I look? : queer film and video by Bad Object-Choices (Organization)

Author:Bad Object-Choices (Organization)
Language: eng
Format: epub
Tags: Homosexuality in motion pictures
Publisher: Seattle : Bay Press
Published: 1991-03-04T16:00:00+00:00

Philip St. John, Below the Belt, California Dream Machine Productions, 1985.

The scene constructs anal intercourse for the Asian Robbie as an act of submission, not of pleasure: unlike other scenes of anal intercourse in the tape, for example, there is no dubbed dialogue on the order of "Oh yeah ... fuck me harder!" but merely ambiguous groans. Without coming, Greg leaves. A group of (white) men wearing Japanese outfits encircle the platform, and Asian Robbie, or "the Oriental boy," as he is listed in the final credits, turns to lie on his back. He sucks a cock, licks someone's balls. The other men come all over his body; he comes. The final shot of the sequence zooms in to a close-up of Sum Yung Mahn's headband, which dissolves to a similar close-up of Robbie wearing the same headband, emphasizing that the two actors represent one character.

We now cut back to the locker room. Robbies story has made Stevie horny. He reaches into Robbie's pants, pulls out his penis, and sex follows. In his Asian manifestation, Robbie is fucked and sucks others off (Greek passive/French active/ bottom). His passivity is pronounced, and he is never shown other than prone. As a white man, his role is completely reversed: he is at first sucked off by Stevie, and then he fucks him (Greek active/French passive/top). Neither of Robbie's manifestations veers from his prescribed role.

To a greater extent than most other gay porn tapes, Below the belt is directly about power. The hierarchical dojo setting is milked for its evocation of dominance and submission. With the exception of one very romantic sequence midway through the tape, most of the actors stick to their defined roles of top or bottom. Sex, especially anal sex, as punishment is a recurrent image. In this genre of gay pornography, the role-playing in the dream sequence is perfectly apt. What is significant, however, is how race figures into the equation. In a tape that appropriates emblems of Asian power (karate), the only place for a real Asian actor is as a caricature of passivity. Sum Yung Mahn does not portray an Asian, but rather the literalization of a

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