Love in the Digital Age, Part Two: Humanized Sexuality

by Rich Moreland, September 2018

In Part Two of “Love in the Digital Age,” we’ll take a look at the production side of filmmaking that makes the award-winning Jacky St. James/Eddie Powell style one of the finest in the business.

[My thanks to Jeff Koga, Jacky St. James, and New Sensations for the photos in this post.]

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“Love in the Digital Age” is another Jacky St. James feature film that reveals just how precise and demanding the writer/director can be.

Jacky is fond of saying that she’s not concerned with how popular her performers are in the fan world of adult film. Fame built on gonzo scenes and horny bodies is not what drives her casting. In fact, standards of hotness aren’t even in the equation when it comes to the on-screen expectations Jacky has for her hires.

To make a feature film come alive as an artistic statement, Jacky looks for performers who can take direction, deliver lines, and get into their characters. Some adult directors settle for line readings as benchmarks to create their characters; Jacky insists on acting ability. In this romantic comedy, she gets what she demands in spades.

Gia and Logan

Take Gia Paige. Her performance is superb.

Here’s an example. After an unsavory discovery, Sara confronts Griff (Logan Pierce) as she is walking out on him. She wants to know what category of undesirable females she falls under in his mind. “Dumb sorority girl, bad chick, crazy chick,” she growls. It’s Gia’s finest acting moment in the film. She expresses her frustration, anger, and feelings of deception.

For his part, Logan’s performance is also top-of-the-line. When Griff talks to his radio audience about screwing up “the best thing he had in his life,” he admits to being a jerk and doesn’t want his audience to be like him. The pain on Logan’s face illustrates the contrition and deep sense of loss Griff feels.

Bottom line? Expect good acting and character development in this film. The script is lively, but the actors’ energy moves the production into the fast lane.

Fit the Narrative

Eddie Powell and his filming cohort Paul Woodcrest frame the sex scenes to fit Jacky’s directing philosophy. She focuses on female pleasure and wants it evident on-screen. That requires a special commitment because extracting intimate performances from actors who are often limited to all-sex shoots is not easy. Too often spitting, deep throating, and facials limit the artistic boundaries, such as they are, in those types of scenes. On the other hand, romance scripts demand a different approach.

Jacky wants her cast to be engaged in the story but they must go a step further with the sex scenes because they must fit the narrative.

In this production, the women initiate the sex, moving the female characters from the object of sex to its subject in the eyes of the viewer. There’s lots of kissing, loving gazes, and passion.

As always, Eddie’s camera work reflects Jacky’s story telling mission. When framing the performers during their sex scenes, he focuses on both bodies equally. He and Paul build the intimacy with facial closeups as opposed to relying on genital action. In other words, the pure up-close piston shot is absent. In its place is a humanized sexuality, a Jacky St. James/Eddie Powell trait that has forged their legendary talent.

To put it another way, Jacky and Eddie step away from the traditional male gaze and rough sex that present women as merely bodies with no larger reality. It’s a departure from run-of-the-mill porn.

There is one more ingredient in the mix. Eddie’s camera is always in motion, swirling and floating in an expression of what happens in the minds of lovers who are absorbed in each other. His shooting mimics what lovers experience when passions are high, a trait that elevates his work above the best cinematographers in the business.

A Cowgirl Sexcapade

There are four sex scenes, as mentioned previously. The first is Gia and Tyler Nixon. It’s a sample of Sara’s previous relationship that is ultimately doomed because of a social media post that inflames her.

The second is Kenna James and Small Hands. Lizzie meets Jeremy at the bar. He takes her home and the sex heats up.

The third is Gia Paige again, this time with Logan Pierce in a triumph of their new-found romance.

The fourth involves Mona Wales and Marcus London. Janine is at first turned off by her coffee date with Mark, but he gets a do over and love ensues.

The favorite sex position to begin each scene is cowgirl. The female controls her pleasure and relishes the expressions of her lover as she rides to ecstasy. This is not to minimize mish (missionary), spoon, and doggie. They are there, of course, as is oral sex. Incidentally, there is a lot of that for her enjoyment, something not found in abundance in adult film unless the scene is girl/girl.

In the final analysis, porn is often in a hurry. Chuck clothes, get to the blow job, then run through the standard positions with the pop shot that is most often a facial. Jacky will have none of that. Her performers warm up to each other, a necessity in a true romantic comedy.

Once again, Jacky St. James and Eddie Powell have made a Hollywood-worthy adult film. Because of their exceptional talent, “Love in the Digital Age” belongs in every porn library in a prominent place on the feature film shelf.

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Here’s the YouTube trailer for “Love in the Digital Age.”

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Love in the Digital Age, Part One: The Old-Fashioned Way

by Rich Moreland, September 2018

Once again New Sensations teams up award-winning filmmakers Jacky St. James and Eddie Powell and the result is another Hollywood-worthy motion picture. Produced by Scott Taylor, “Love in the Digital Age” is a romantic comedy starring Gia Page, Kenna James, Mona Wales, Tyler Nixon, Logan Pierce, Small Hands, and Marcus London.

The DVD also offers a BTS, photo gallery, and trailers highlighting other New Sensations productions. It can be ordered here.

[Photos in this review are credited to photographer Jeff Koga and director Jacky St. James]

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Jacky St. James’ latest romantic comedy is all about our tech driven age and the sexual hookups it offers us. Take notice of the montage of social media images that begin the film as we hear in voice over,

“Social media is how we connect now. Everything is at our fingertips. Why should we ever feel like we need something else?”

That question sets in motion a porn film that is as much social commentary as it is “doggie” and “cowgirl.” Be prepared for a thoughtful look at today’s online dating scene and the love, authentic or otherwise, that emerges out of it.

Four superbly shot sex scenes explore the realities of modern romance Jacky St. James presents in her script. Kenna James, Gia Paige, and Mona Wales fire up the screen with female pleasure that is a far cry from gonzo’s “rough her up” sex. But more on that in the next post.

First, let’s take a look at what the film is all about.

Testing a Theory

Lizzie (Kenna James) lives with her mom Janine (Mona Wales). The household welcomes a newcomer, Lizzie’s cousin Sara (Gia Paige). Sara has just dumped her boyfriend whose insensitivity trashed her on social media.

From there the story develops around a “theory,” as Janine proposes it, that the girls can’t survive without their cell phones. In return, Lizzie and Sara insist that Janine get a smart phone and go to dating apps to find a love life. She has, after all, been a “weird single lady” since “dad left,” Lizzie says, and celibate far too long.

The adventures from there are humorous and filled with carnal desire. But there is a deeper message in Jacky’s film. As the narrative progresses, she touches on subtle examples of how modern life is consumed by social media.

Here are some highlights.

After they agree to give up their phones, Lizzie and Sara drive to a bar, not an easy task because Lizzie doesn’t know how to get there without her phone’s GPS.

Sitting at the bar, the girls are listless. Boredom quickly sets in. No phones; no fun. They’ll have to create their own.

The bartender is mixing drinks and checking out his phone at the same time, something that fascinates Lizzie. She never noticed him before, of course, because she was always engrossed in her own phone. From her perspective, Sara observes that the people in the bar remind her of zombies attached to their phones and she feels out-of-place.

To occupy her time, Lizzie wanders outside to the bar’s patio and lights up a cigarette. She meets Jeremy (Small Hands) who muses that two friends in the bar are arguing and texting at the same time. It’s a comment on multitasking with a downside.

Jeremy, who doesn’t have a mobile phone, tells Lizzie, “We have our heads down so much we miss what is right in front of us.” In other words, too often social interactions are cell phone dependent at the cost of real human expression.

Never More Connected

“Love in the Digital Age” also addresses other issues technology has brought into our lives. One is the internet’s impact on our privacy. Another is somewhat more egregious: when we worship at the altar of technology, we sacrifice our imagination.

But all is not lost. Without a cell phone, Sara must learn to negotiate a landline setup to talk with her new-found love interest, Griff.

They’ve already communicated through letter writing (the earliest form of texting, by the way) and have moved to the next step. She doesn’t know what he looks like, of course, he’s just a voice on the other end of the wire. But she draws on her imagination to picture Griff and admits she’s never felt more connected to someone than she does to him.

Sara later confesses to Janine, “You can’t get to the heart of who a person really is online.”

The older woman is on board with that conclusion, but must explore dating apps as part of their deal. She’s now learning what technology offers.

When her weekend with Griff heats up (it’s Easter, by the way, the season of renewal and rebirth), Sara is immensely happy. “I was just living my life in real-time with someone I was getting to know the old-fashioned way.” Despite her upbeat revelation, Sara’s remark is a scalding comment on what we’re losing in this modern digital age.

The Sum of the Entire Picture

There is much more to this story. We see an older couple, Janine and Mark (Marcus London) navigate their more traditional relationship and witness how Lizzie’s face-to-face meeting with Jeremy generates an immediate connection. And not surprisingly, the Sara/Griff romance takes a rocky turn that delves into how technology fosters deception and embarrassment.

The voice over that ends the film simultaneously warns and reassures the viewer about our digital world. They are Sara’s words.

“We should remember that the things we hear or read online aren’t always the sum of the entire picture. If you want to know someone, really know someone, I suggest you do it the old-fashioned way.”

Jacky St. James wants us to understand that human interaction does not differ from generation to generation regardless of the platforms we use. Technology may move us forward, but the basics remain in place. For better or worse, social media, whatever its form, reflects our maturity, compassion, and values.

Mobile phones are designed to co-exist with traditional living, not redefine or overtake it. They can enrich personal connections and, on the flip side, be used in emotionally destructive ways. But whatever our conclusions about that handheld device, it can’t and doesn’t replace real human contact and the feelings that go with it.

This is the wisdom of “Love in the Digital Age.”

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In Part Two, we’ll look at the sex scenes (this is a porn film don’t forget!) and Eddie Powell’s cinematography.

Watch the trailer compliments of New Sensations.

 

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Sofie Marie, Part Three: Hotwife

by Rich Moreland, April 2018

In this final post on Sofie Marie, we’ll look at her on-screen adventures.

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For Sofie Marie, her swinging history prompted her move to porn. I’ve interviewed other girls with similar experiences as swingers and wanted to know what Sofie could tell us.

A Hall Pass

“I am doing porn because of swinging or ‘the lifestyle’ (as it is known among its adherents). I am a true Hotwife which means I have a hall pass from my husband to go and explore whatever I want to as long as I am one hundred percent open about my plans and experiences with him. He likes to see and hear about my exploits from me and from Spike,” Sofie says.

From what I’ve learned as a journalist, being absolutely open about everything is the cornerstone of acceptance into the swinging community and the ongoing enjoyment of it.

Sofie’s interview with Adult DVD Talk gives us the back story. Her husband introduced his new wife (they’ve only been married for a couple of years) to the swinger community. “He told me about it and I didn’t have any idea what a ‘swinger’ was,” she tells Captain Jack.

Now husband and wife savor the lifestyle together which means parties and the excitement of hooking up in a consensual atmosphere. Sofie has loved it all, especially the variety of sex partners-in-waiting, an unexpected treat for her.

“We’ve met a lot of great people and I have been with girls through that. That’s where it all began as far as fooling around with other girls,” she beams.

That ongoing adventure of self-discovery became an important step in initiating a porn career.

Sexy Young Guys

Sex for the camera is another story.

Sofie’s photography career began with bikini modeling which, as sometimes happens with porn girls, led to nude work. From there, her exhibitionist tendencies and relishing all things sexual nudged Sofie to take the next logical step: her own website and porn.

Sofie explains to Captain Jack that x-rated shooting is “no big deal” because she enjoys exploring her “sexual boundaries” which includes, no surprise, being naked and revealing her “girl parts.”

Has porn benefited Sofie’s free-wheeling spirit? You bet.

“I have gotten really comfortable in front of the camera. So, being nude or having sex is easy for me with the camera rolling,” she says.

“I am really a shy person and exploring my sexuality and now doing porn has been a great experience.”

From a psychological perspective, exhibitionism is a common trait among porn performers and often counteracts shyness. Sofie’s fans are undoubtedly thankful she has made it work for her.

By the way, Sofie’s age would dictate a career as a MILF, but she’s not really into that. When it comes to shooting, “It’s the job for me to play the MILF,” she comments, “but I like playing the Hotwife better.”

Actually, being a MILF took some getting used to, Sofie declares, because she not a mom in her real life, so the label feels a bit “weird” to her. But it does have its rewards. “I get to have sex with the young sexy guys as a MILF so that’s a bonus for me!”

That’s something all her fans can watch with delight as Sofie redefines “cougar!”

Work Sex

There is something about Sofie Marie that separates her out from the run-of-the-mill porn girl. Though I’ve not had the pleasure of being on one of her sets, as I’ve said, I can infer from the short clips I’ve seen that she is cultivating an image that sets her apart from the crowd.

That is a huge reason for her popularity, I believe.

In talking with performers and directors I’ve been reminded that porn sex is not the type of sex civilians (pornspeak for non-industry people) experience in their everyday lives. What is surprising is this: that goes for porn performers as well who are happy to separate film sex from home sex.

Another way of putting it is this: porn sex is acrobatics that involve contortions and positions that directors insist be held minute after minute to get the footage desired.

As you might expect, performers don’t go home in the evening to their significant others and hang from the chandeliers. Work sex is a business and exhausting enough as it is.

Social scientists and educators tell us that porn, with all its outre positions and hard banging, has become the new sex education for today’s young people.

Sometimes it’s difficult for them to understand that sex is supposed to be enjoyable, intimate, and a mutually shared experience. It doesn’t need to be nasty, rough, or vulgar and doesn’t have to be dominated by deep throating, gagging, choking, tears that smear mascara, and reverse cowgirls (the most graphic position for the camera).

Here is what I mean. Watch Sofie in a girl-on-boy oral scene, for example, and compare her with popular porn performers today. The difference is noteworthy.

Her on-screen sex is instinctive and unpretentious. Without doubt, this is Sofie Marie’s tour de force and why she is destined to luxuriate in the adult industry for as long as she wants. When she proclaims she projects the girl-next-door image, Sofie isn’t kidding or trying to sell her fans a bill of goods. She really is as she appears on-screen and that, in a business that is turning more and more to the bizarre to keep fans energized, is in itself remarkable.

Think of it this way, Sofie communicates her sexuality without saying, “Hey, look at me!” Her scenes are less about her and more about personalizing the sexual experience for the camera. The more natural she is, the easier it becomes for viewers to imagine themselves in the shoot with her.

As I’ve already hinted, Sofie Marie’s shoots explore sex as a spontaneous expression. In other words she reinforces the idea that sexuality as meaningful on a human level. It’s not a superhero cartoon or the perils of Pauline. It’s just us.

There’s no drool, spit, or slobbering when she is performing orally. Dirty talk is subdued, and, she completely turns the porn formula on its head when she fails (forgets?) to point her toes. Those things are not important in her shoots because they are not her. As Sofie keeps telling us, she’s natural . . . and she is a natural.

I could be wrong and if I ever see her in action on set in a way that disputes what I’ve said here, I’ll let you know.

Consent

Not surprisingly, consent is important to Sofie.

“So far I have been treated with respect one hundred percent of the time. I expect nothing else from this industry or I will not shoot with a company who does not respect my time and boundaries,” she proclaims.

For girls to accomplish what Sofie asserts, they must take control of their image just as this statuesque beauty clearly demonstrates in her work. That is a link to feminism she may not know she possesses.

Balancing Act

Finally, I had a couple of questions for Sofie that arose from personal interest. She and I are similar in two ways.

First, I was raised in a conservative evangelical home (Southern Baptist) and didn’t know much about sex growing up other than it was sinful outside of marriage.

I don’t know if Sofie’s childhood attitudes were the same, but she had this to say about her background.

“I, too, was raised in a very religious household and I still maintain my spiritual connection to my faith. But I have come to realize that I am a consenting adult and the people I perform with are adults as well and we are not hurting anyone by having sex.”

She concludes with, “I always try to be kind to others.” A lesson we could all share. Are you listening evangelicals?

The other area Sofie and I have in common is endurance sports, specifically triathlon and marathons. The training is grueling and fatiguing and I can’t imagine having sex on camera in addition to that.

So how does she balance everything out?

“My last Ironman was 2016 so my training has been easier for the past year. My husband and I train together, so when we get our schedules synced, we will likely do another one. But my focus is my career now.

“Yes, it’s hard to a balance business and training . . . business is first for now. I do workout with weights and cardio six times a week, just not as long as when I was training for my Ironman!”

We wish her well with all her loves: racing, on-camera sex, and of course, hubby!

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A final note. Sofie Marie did not talk about her fetish performances because regretfully I didn’t ask.

So, for the followers of this blog who like BDSM, I want to assure you Sofie is not shy when the fetish comes her way.

Take a look here:

And here:

Be sure to follow Sofie’s fetish adventures with your bondage dollars!

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Sofie Marie, Part Two: YummySofie

by Rich Moreland, April 2018

Before getting into more about Sofie Marie on-screen, we first need to learn a little about her business model.

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The New Porn Girl

This California babe understands how important it is to own your content and market it so that the benefits come (pun intended!) your way.

I’m interested in how Sofie gets her product out there.

Yummysofie.com is my personal website and it is part of the Yummygirl.xxx network that my company owns,” she proclaims.

Ah, I love those magic words “that my company owns” because they summarize the lesson every porn girl needs to know. Be your own boss. Clearly Sofie’s brand is on the right path and that is directly connected to her number one advantage in the business other than her killer body: her age.

To put it another way, Sofie Marie no eighteen-year-old gonzo girl who chokes on ten inches to sell a video for someone else’s studio or online site. Sofie’s maturity and determination call her on-screen shots. She knows where she is going from a business standpoint and that path includes promoting others who depend on adult work.

Yummygirl manages “pay sites for photographers and models,” Sofie explains, before personalizing her role. “I want to help other performers with their pay sites and content creation,” she adds.

Laudable and we understand what it means to reach out. But there’s a trade-off here, Sofie’s building her own fan base in the process and a solid industry reputation as well.

Possibly this very smart girl is inclined to expand her industry horizons. There are many pieces to the porn pyramid and resume building insures success in adult as it does in any enterprise. Appearing on-camera is only one avenue open to a performer. Behind the camera offers other opportunities.

Possibly agent, promoter, and director (to go along with producer) are in the making for Sofie’s future.

Sharks in the Water

First and foremost for Sofie, of course, are her own branded performances. “We strive to own as much of my content as possible,” she states. Totally understand, that’s where the money is.

It’s worth a mention that owning content not only directly benefits the performer, but also combats piracy, at least to a degree.

A quick online excursion reveals a minimum of free Sofie stuff in cyberspace to whet the appetite . . . and what is out there she controls. Yes, just enough to create interest, but not enough to lose hours of work to thievery.

None of this comes easy, however. The heartbeat of Sofie’s brand relies on networking, organization and a carefully drawn plan. And that, more than anything, lays the foundation for a lengthy, productive career.

For her paying customers, Sofie says, “I primarily cam on YummyGirlCams.com which is part of Streamate.com.”

In turn, Streamate is part of the growing industry of webcam models. It emphasizes being your own boss, setting your own hours, and working from home, the mantra of modern camming and the real reason why the cam girl is emerging as the new porn girl.

But there is a downside. To be unique is not easy when there are sharks in water, as economists say, to dilute any girl’s image in an online world populated by thousands of cam girls.

Two Men in Her Life

No adult business is a go-it-alone enterprise. In her case, Sofie works closely with her director, Spike Irons. A visit to his twitter account @SpikeIronsxxx lists him as co-owner of yummygirlstudio and webmaster for Yummysofie.com.

By the way, Sofie is married and doesn’t remove her rings when she shoots. The message is direct: “I have a real life at home, but I’m also a Hotwife on film who has a rollicking good time and wants to share it with you.”

That is a marketing coup rarely accomplished in this business.

So, what about hubby?

First, to dispel any misconceptions, Sofie points out that Spike is not her husband. He’s her director and producer for her website, she states. “We work together on the content for each shoot.”

Does she step in front of the camera with her husband’s blessings? Absolutely.

“My husband travels a lot and likes to hear about my shoots,” Sofie says with that endearing smile that captures her natural manner and sultriness.

He’s on board with what she does. What more can a girl ask?

Quality and Consistency

As we close out this part of our look at Sofie Marie, our lovely lass summarizes her business model one more time.

“My Yummygirl brand is about quality and consistency and presenting a more unique nude, sexy erotic experience.”

If you check her out online, I think you’ll agree.

There is one more aside that is worth a mention. Sofie has a business associate who helps her enjoy her work.

“I am a toy tester of Sextoyinventor.com and that is a fun project,” she says.

If vibrating is your thing, you can see Sofie Marie with a little help from her mechanical friends in brief outtakes from her website.

Overall, her porn life has gone well and Sofie looks to the future.

“I’m on year three of my business and its been full-time for me for a year and I hope to keep it growing! I would love to keep producing and creating content as long as the fans continue to support me.”

I’m sure they will, and why not? A hard-bodied woman is a feast for the eyes.

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These are not the best of times in the adult industry with piracy literally stealing from companies and performers who work hard for their dollars.

Throw in the tumult of  the too-long-in-coming #MeToo movement, which is as prevalent in porn as it is in mainstream Hollywood, and the result is stressful for every model. 

Nevertheless, Sofie Marie remains upbeat, pleasure-seeking, and comfortable in her own skin (and what a beautiful covering it is). That’s no mean feat in today’s environment!

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A Naughty Hardbody: Sofie Marie, Part One

by Rich Moreland, April 2018

I discovered Sofie Marie by accident through twitter. One look convinced me this sexy honey is one exceptional woman in a sometimes cookie-cutter industry.

Hoping to get an interview, I contacted her. Sofie was gracious and the result is a three-part post on this blog.

She is refreshing . . . and we welcome her here!

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Because I was unable to attend this year’s Adult Entertainment Expo in Las Vegas, I missed out on a new (to me) performer I’d put on my radar. Her name is Sofie Marie and she’s more than special, she’s unique. At thirty-seven, the hardbody is creating her own space in porn that puts her leagues ahead of the typical baby-faced newbie who’ll be shot out in six months.

First, a little background on this beautifully sculpted girl compliments of Captain Jack at Adult DVD Empire. (You can read his entire interview with Sofie here )

With an athletic physique that is the real deal, the former volleyball player is an endurance athlete with a resume that includes an Ironman triathlon. Her trainer? Her husband, who just happens to be a four-time Ironman competitor himself. More on this in a later post.

Sofie’s five-ten frame lends itself to a svelte, sexy look that has molded her into a stunner with brains to match. Make no mistake, this babe is blessed with the right DNA and a smile to die for. It’s no stretch to imagine that displaying her physical treasures gives her a natural high.

Oh, one more thing. Sofie Marie offers us an interesting spin on her readiness for the adult biz. Her husband introduced her to the “swinger” community in L.A, her home town. Sofie went from partying to online porn, an obvious fit for a girl who uses her assets to the max!

We’ll also explore this later.

For now, I was able to follow-up with Sofie on some of what Captain Jack mentioned. My thanks to her and let’s get started!

A Naughty Side

First, I ask Sofie to define her brand.

“Sofie Marie is not your typical porn actress,” she begins, speaking of herself in terms of the brand.

“Since I am lean and all natural, I am truly the tall girl next door who has a naughty side.”

 

Sounds good, but how does that translate into being a cam girl? In other words, how does Sofie separate herself from the overwhelming number of worldwide cammers?

It’s in the loyalty of her fan base.

“I am just me which is genuine, goofy, fun, and sexy,” she proclaims, then gathers those endearing traits into an easy-going, but enticing image of “a naughty girl” that seduces the camera.

“I work hard to give my fans a great show so they will come back for more.”

When I mention that the cam girl might be the new porn girl, a point we’ll look at shortly, Sofie is on board with the idea.

“I think that camming is a great way to meet and interact with fans from whatever genre the girl or guys want to promote.”

 

Sofie believes that cam work builds that personal touch that’s been missing in porn for so long. You can see why. Just a moment’s interaction with her tells us she has a personality so affable it’s more than suited for cam work.

Nothing Rough

What is on the horizon for Sofie and how can she avoid being overshot, the fate of so many girls who enter porn? After all, she’s been at this for a while.

Sofie starts off by recounting her resume.

“I have produced over 180 clips and videos so far and I have over 450 photo galleries on my website.  I have done over twenty mainstream porn scenes from solo, B/G, G/G, BGG, and one orgy, but not all of those scenes have been released yet.”

From what I can glean from checking out Sofie online (disclaimer here: I’ve never been on set for one of her shoots) she has the feel of a gonzo girl who has left vulgar, nasty and trashy at the studio door.

Rather, she’s fun-loving in a way that let’s her tap into a fan base hungry for that type of entertainment.

Perhaps one day features may be in Sofie’s future and she understands how to get there.

“I am a former pro athlete, so I am very competitive, but I don’t have an acting background, so I practice so I can be the best performer I can be!”

To her credit, Sofie has her personal limits and does not try to sell an image that doesn’t reflect what she is about. In other words, she’s comfortable with how she is presented on-screen.

There is no rough sex (slapping, gagging, spitting, deep throating) in her films.

“Not for me,” she declares and adds that moving forward in the business is a series of personal choices that dictates what a girl will do. To phrase it another way, everything “depends on the image you want to portray,” she says.

What Sofie Marie proves is this: a fan base is not dependent on following the crowd.

IR

One more point is worth making here. In standing by the choices she makes, Sofie joins a handful girls in porn who chart their own career. As I’ve written in the past, it’s the industry’s version of feminism.

However, don’t think this very smart woman does not understand the shooting demands of the business. She knows how to respond to them.

“According to my Adult Empire page,” Sofie says, “after ‘Cougar Orgy,’ my fans love my IR scenes”

Black/white porn is more popular today than ever before, but the taboo barriers still exist, though they are not what they once were. That is not a bad thing, by the way, because their presence insures the popularity of interracial shoots.

We always like what is forbidden. For porn, when blacks on blondes becomes just another boy/girl shoot, things will really border on the mundane!

That’ll never happen with Sofie. Our girl is good to go with IR and she’ll drive her naughtiness meter to ever higher levels with each shoot.

When pressed about her scene partners, Sofie doesn’t hold back.

“I see people as individuals not as part of a group,” she states, which opens her up to any shooting possibility.

Of course, there are the aesthetics. “I love the color contrast of the IR shoots, and I do love a big cock!!”

Her attitude is right on target and Sofie Marie is cultivating a career headed for porn stardom at an age when most girls are shot out and retired, sometimes involuntarily.

“Since I have a unique look, I will not likely be over exposed, even if I wanted to be!!”

You bet. Sofie’s candid spontaneity graces her on-screen presence and her classical features are rarely found in porn. Think of her this way, in Athens 2600 years ago, Sofie would have been immortalized in marble.

Anal Anyone?

What are Sofie’s thoughts about broadening her repertoire of sex acts?

“I may do anal in the future, but not now,” she asserts, knowing that a girl doesn’t want to jump into everything at once.

But I strongly suspect her fans are patiently awaiting that decision, so our honey ought to be getting out the toys she loves so much to prep for the big (pun intended) day!

Oh, one more thing. Waving another carrot for her followers, Sofie purrs,

“I am considering some group sex scenes for my site.”

Throw that together with Black dudes and a little anal, and Sofie Marie has a winning formula, should she want it.

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Part Two of this series on Sofie Marie looks at her brand and how she controls the porn image she has effectively built around her athleticism.

Contact Sofie at:

IG/SC/Twitter @wickedyummy1
Yummygirl.xxx

 

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Eros: Part Three

by Rich Moreland, March 2018

This final post on Eros is for posterity. It is intended to give readers a heads up on an emerging female talent in filmmaking.

At this time, the direction Davyana San Miguel will take professionally is evolving. If she makes a name for herself in long run, this post will lend a meaningful back story to her career.

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Reframing the Lens

When writing about Davyana, the first thing that comes to mind is her ability to capture the female gaze. Typically, we use “gaze” descriptors, especially the male version, in referencing the pornographic image. However, the concept carries over to the erotic if performance art depicting female nudity and its corresponding sexuality is our focus.

From my standpoint, the female filmmaker who fits neatly into the erotic artistic paradigm is Amy Hesketh of Pachamama/Decadent Cinema. Her work examines women who move beyond the sexual for its own sake. Amy’s preferred vehicle is the the horror/torture setting framed with psychological overlays.

On this blog, I’ve reviewed Amy’s films with that point of view in mind, an especially challenging endeavor considering she is usually behind and in front of the camera simultaneously.

What is delightful about Amy is her willingness (eagerness?) to appear on-screen as the distressed female victim. Needless to say, her performances are powerful.

Interestingly, Amy sometimes constructs the film sets and the instruments of torture her characters (especially those she plays) endure on film. Often writing her own scripts which she also directs and produces, Amy is the complete package.

Labels notwithstanding, the now college professor is clearly a feminist filmmaker. Amy’s female protagonists assert themselves despite their dire circumstances.

Though her work doesn’t deal with horror or sadomasochistic themes, Davyana is in the beginning stages of a career much like Amy’s: cinematographer, director, actor.

“As a director, I do consider myself a feminist,” Davyana says, and by its very nature that statement takes on a political interpretation akin to Amy Hesketh.

The student filmmaker adds,

“Recently, I’ve learned that 4% of Hollywood’s cinematographers are women, that means that 96% of the visuals we consume are inherently from a male gaze. Through my work, I hope to reframe the traditional lens and present things from my unique feminine perspective.”

Eros is the beginning of that journey.

Learning from the Bottom Up

As do all cinematographers, Davyana is learning her craft from the bottom up.

Here are some examples she mentions. They are from two separate productions.

“One was an independent short film called Mer, based in Brooklyn, New York. I was the second Camera Assistant on that shoot when I lived in New York for the summer of 2015,” she says.

“The second set is a senior thesis film from SFSU. I was the First Assistant Director on that one.”

Breezy and Cool

When I take a closer look at Davyana, I am persuaded that her on-camera appearances are notable, even if they are casual in nature.

What piqued my interest was a photo of her on a rooftop. It has a playfully erotic appeal, replacing the male gaze with a female alternative, though I’m not sure that was its intent.

Davyana relates that the pic “was a BTS shot from Mer. I was adjusting the lights during a nighttime rooftop scene we filmed in Bushwick. For the same film we also shot at Coney Island for one of the locations.”

If you look closely, you’ll discover Davyana has a pixie quality about her that is breezy and cool.

Then there are other moments when Davyana steps in front of the camera and moves her image beyond the incidental.

“That vinyl record photo is one of my favorites photographed by my creative partner Mehran Karimabadi,” she says. “We were filming for our short film Du Bist Schon and had an impromptu photo shoot while we had the lights setup.”

The shot is happily inventive in its nature, I might add, because it frames Davyana San Miguel in a completely different light. She, like Amy Hesketh, is transformed into the center of the gaze while maintaining a subjective, rather than objective, quality.

In other words, she is the creator.

Knowing that Amy built a career on camera, I asked Davyana about modeling and acting.

“I have consider(ed) being in front of the camera more often,” she affirms, though she has some hesitancy.  “It’s a bit uncomfortable for me to step out of my comfort zone behind the camera.”

That discomfort is not from lack of experience it seems, but touches on Davyana’s ethnicity in today’s political/social climate that sadly minimizes, rather than celebrates, diversity.

She explains. “I rarely see anyone who looks like myself on-screen, which has subconsciously dictated how I view myself within society.

“I hope that by inserting myself in front of the camera more, others [will] feel accepted and recognized visually.”

If anything, that may be Davyana’s most significant contribution to film at this point in her career.

All things considered, like Amy Hesketh, Davyana San Miguel takes her image and frames it artistically and politically. Where Amy is presently more psychological in her work, Davyana leans toward a broader message of multiculturalism and LGBT acceptance. That is not to say Amy ignores this, nor does it imply that Davyana is downplaying internal psychological forces in her self-created images. Each woman borrows from the other.

Spontaneous

Lastly, Amy is very fetish oriented, as we know. For Davyana, her fetish expression is somewhat spontaneous and less calculated. The native of Hawai’i comments on a photo I brought to her attention. I suggested it celebrates multiple fetishes.

“My mesh outfit was one that I wore to last year’s pride parade in San Francisco. I suppose that the overlay of fetishes was my intent,” she says.

But it seems the unconscious might have influenced her in a more innocent manner.

“I was simply expressing myself with things I had in my closet,” Davyana concludes.

Wow, what a closet!

So, here is perhaps the most deeply personal photo of them all, a product of mind and emotion that Amy Hesketh can appreciate.

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You can see samples of Davyana’s work on her website.

 

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Eros: Part Two

by Rich Moreland, March 2018

Now that we’ve introduced student filmmaker Davyana San Miguel, let’s have a conversation about what makes Eros a striking accomplishment.

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Experimental

To begin, Davyana describes the film as “an audio-visual experience that explores themes of pornography and feminism through experimental filmic techniques.”

Without doubt, it accomplishes that.

After viewing the film, I wanted to share my thoughts with Davyana. One of them concerned how she chose to represent herself on-screen. As the film opens, the viewer’s first impression is Davyana with her back exposed to the camera by a very low-cut dress. To push an avant-garde button, she has buzzed her hair.

Was that intentional? Here’s what I found out.

Davyana shaved her head during a trip to London. Her hair was always long and a close trim was something she wanted to do, but her friends weren’t exactly supportive.

“According to their opinions, I wouldn’t be beautiful or feminine anymore if I shaved my hair,” she recalls.

Moving forward nevertheless, Davyana discovered an opportunity to put her new look on-screen in an interesting way.

“I decided to insert myself in the film to join the conversation and redefine the notions that a woman is defined by her adherence to traditional gender roles.”

What about baring her back?

“My outfit choice and camera angle are intentional but shouldn’t be over thought.” She comments. “There is no deeper meaning. I simply enjoyed the aesthetics of the shot.”

Unfortunately, I stand guilty of over thinking. Let me give you an example. 

In a film review I did a couple of years ago, I interpreted a painting as cleverly defining connections within the plot and its characters. Later, the director thanked me for the observation, but the painting was incidental in the scene and lent no special meaning to the film, he said.

Well, this time around I argue that Davyana gave her film “deeper meaning” by putting her image in it and I agree with Dr. Augsburg who claims, “I think she also underscores the importance of feminist art since the 1960s–or what I call feminist ars erotica— by depicting herself working with paint in the film. She seemed literally to turn her back on the male gaze as well.”

The good professor is spot on.

Simply a Business

Eros incorporates the feel of early film. There are sprocket holes continuously on-screen accompanied by flickering to create the effect of a reel-to-reel experience. Do the boxes on each side of the film have multiple meanings other than sprocket holes and did Davyana employ them to enhance the theme of the narrative? 

I think so. Grainy reel-to-reel images remind viewers there’s a bit of history going on with what they are seeing.

Incidentally, the effect confronts the male gaze engendered by stag films, the earliest version of motion picture pornography. If this is her intention, Davyana exposes how women’s sexuality has been viewed in our culture over time.

Here’s what she had to say, mixing in some techie talk with the film’s message.

“I’m intrigued by the psychological effects of subliminal messages. The grid pattern of 16mm hand-painted clear leader simply came together through experimentation. The strobing effect of the 16mm was achieved by filming the live projection.  Every frame is intentional and represents something related to the adult industry. I don’t want to give too much away; a lot is up for the audience to decode.”

Regarding Marilyn Chambers (in a clip taken from a TV appearance) and Andrea Dworkin as opposites in the film, Marilyn seems nervous; whereas, Dworkin is her usual forceful self.

Selecting those clips for Eros is astute filmmaking because Marilyn symbolizes the early days of the emerging 35 mm pornography phenomenon that is not quite sure of itself; whereas, Dworkin is a statement of suppressed (or repressed?) female sexuality, a longstanding cultural expectation then and now.

Does Davyana consider the two women as antithetical?

“Andrea Dworkin was included to represent the anti-porn feminist perspective and Marilyn Chambers represents the pornography feminist,” she says. “I wanted to showcase both sides of the feminist debate that spanned the 1970’s.” And into the 1980s, I might add, so Davyana has encapsulated a large chunk of porn history in momentary images.

Having said that, what do we do with Dworkin and Annie Sprinkle?

Davyana elaborates.

“Andrea Dworkin’s intensity and overconfidence (in her point of view) really helped to show the different sides of feminism that exist.  That visual (in the film) about porn people leading happy lives is all thanks to Annie Sprinkle! That’s the very message I wanted to get across strongly (about porn) . . . this is simply a business.” (Notice the dollar sign in the title card reproduced above?)

Buckley and Days Gone By

What about conservative commentator William F. Buckley? Where does he fit in?

“I found his reactions as a moderator quite funny and left his shots in there. Talking about pornography and feminism can be overwhelming and tiring, hence the need for comedic relief,” Davyana comments.

No doubt, but let’s not forget that Buckley’s resume includes supporting McCarthyism, segregation (he was no friend of civil rights), and opposing multiculturalism. With her avant-garde lens, Davyana gives him the zapping he deserves, if ever so subtle, in a film that addresses a pair of ideas that would appall him: feminism and pornography.

Another segment of interest in Eros is the scene of women and typewriters. It presents a 1940s snapshot of the corporate world that Buckley would certainly endorse. Jobs are stamped out; typists are cloned. They are hardly in charge of their image.

The vision is an innovative way to move the history of women forward because of how it defines society and the female statement within it.

“The shots of women training to be secretaries are included as a visual juxtaposition to the idea of an independent female who works in the adult industry,” Davyana declares. “These secretaries represent the women oppressed by a patriarchal society.”

Coexistence

Finally, how does Annie Sprinkle fit into Davyana’s message?

“I learned about Annie Sprinkle through Dr. Augsburg’s course,” the student artist says, and offers a “shout out” to her professor for “inspiring the themes discussed in Eros.”

Davyana explains that she needed “a credible source to help my argument that feminism and pornography can coexist.  What better person to ask than Annie Sprinkle, who has worked in the industry and created a successful art career because of her experiences.”

When I asked Dr. Tanya Augsburg about Davyana’s commitment to excellence, she said:

I’m so impressed that she took the initiative to interview Anne Sprinkle, Shine Louise Houston, and yourself. What I appreciate so much about her remarkable film is that is also quite the feast for the eyes. She presents a full range of feminist perspectives in mesmerizing ways.”

I could not agree more and am most flattered to be a part of Davyana San Miguel’s continuing journey into filmmaking.

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We have one more Davyana San Miguel post in front of us. This time we’ll talk about the artist up close and personal.

 

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