“In many ways, it was both a tragic and a preachy story, but I wanted ‘Metamorphosis’ to be about seeing the charm of a girl who is going through genuine misfortune” – ShindoL, ‘Afterword’ to Metamorphosis
People like to uphold a firm line between ‘art’ and ‘porn’; there is a difference, they will say, between ‘erotica’ and mere pornography. The former is sexually explicit in a way that conveys some kind of recognizable artistic merit; the latter has no such merit to speak of. But in the maelstrom of stories and drawings and bits of film that seem to serve little other purpose than titillation, like needles in haystacks, we often come across works marked ‘porn’ that strike us as something else by the end.
Pornography occupies a space in media that rebels against the idea that a story needs narrative themes and fleshed-out characters. In traditional narratives, every element combines to serve the audience’s immersion into what will happen next, and the possible greater meanings of what’s happening now. In porn, we know what will happen next – characters will fuck, or be fucked, to engage in some other activity to stimulate the voyeur and make them satisfied with their fantasy. Everything is supposed to serve this end – any narrative matter is just foreplay, or something to encourage the viewer to seek out this kind of fictional fulfillment again. These are the rules, the patterns we trust when we come to enjoy some ‘me time’ with this material.
ShindoL’s Metamorphosis doesn’t play by the rules. Continue reading →