色情片可以是“好”的吗？ | 观点

JOHANNA GOODMAN

（本文发表于时报观点与评论版面，作者STOYA是一名色情片从业者、自由职业作者。）

2006年，当我第一次考虑在一个硬调色情视频中表演时，我也考虑了这个问题：一旦我在摄影机前做爱，什么样的职业之门会对我关闭。我想到了在学校当老师，但那没关系，因为我不想担当塑造年轻人头脑的责任。

In 2006, when I first considered performing in a hard-core pornographic video, I also thought about what sort of career doors would close once I’d had sex in front of a camera. Being a schoolteacher came to mind, but that was fine, since I didn’t want the responsibility of shaping young minds.

不过，由于这个国家不起作用的性教育系统，再加上任何有互联网连接的人都可以接触无所不在的色情信息，我还是担当起了那个责任。有时，这种责任感会让我夜不能寐——但我只能尽我的能力去做。

And yet thanks to this country’s nonfunctional sex education system and the ubiquitous access to porn by anyone with an internet connection, I have that responsibility anyway. Sometimes it keeps me awake at night — but I try to do what I can.

成人影片不是以性教育为目的。也不是为了支配性行为，或者作为怎样做爱的指导。虽然有些色情作品的制作者，比如尼娜·哈特利(Nina Hartley)和杰西卡·德里克(Jessica Drake)确实创造一些明确的性教育内容，但色情作品在很大程度上是以成年人为对象的娱乐媒介。

Pornography was not intended as a sex education program. It was not intended to dictate sexual practices, or to be a how-to guide. While some pornographers, like Nina Hartley and Jessica Drake, do create explicitly educational content, pornography is largely an entertainment medium for adults.

但目前，我们这个行业再次受到审查。我们被告知，色情作品扭曲了年轻人、尤其是年轻男性对性的看法，而且是以可能危险的方式。（佛罗里达州的立法机构甚至在上个月暗示，我和我的同行们比AR-15步枪更令人担忧，在这家立法机构拒绝考虑禁止销售攻击性武器的立法的同时，它表决通过宣布色情作品是一种公共健康危害。）

But we’re in a moment when the industry is once again under scrutiny. Pornography, we’re told, is warping the way young people, especially young men, think about sex, in ways that can be dangerous. (The Florida Legislature even implied last month that I and my kind are more worrisome than AR-15s when it voted to declare pornography a public health hazard, even as it declined to consider a ban on sales of assault weapons.)

我致力于创作和传播好的色情作品，尽管我还不能确定它是什么样子的。我们仍没有色情作品是什么的确切定义，更不用说对什么色情作品是好的、或道德的有共识了。对性行为和性互动的方式加以限制也不是办法，那像是一个我们不想打开的潘多拉盒子：我们有什么权利规定成人片演员如何做爱的方式呢？或规定什么是好的、正常的性行为，除了要求那是两厢情愿的呢？

I’m invested in the creation and spread of good pornography, even though I can’t say for certain what that looks like yet. We still don’t have a solid definition of what pornography is, much less a consensus on what makes it good or ethical. Nor does putting limits on the ways sexuality and sexual interactions are presented seem like a Pandora’s box we want to open: What right do we have to dictate the way adult performers have sex with one another, or what is good and normal, aside from requiring that it be consensual?

尽管如此，一些成人片工作者已在采取措施，尽量减少色情作品对年轻人和成年人的潜在伤害。我们的做法之一是试图把我们的作品放到适当的背景中去。

Still, some pornographers have been taking steps to try to minimize porn’s potential harm to young people and adults for years. And one way we’ve been trying to do so is by putting our work into its proper context.

这种背景让人们想到他们在最终产品中看不到的所有东西。这种背景强调了色情作品是一种表演，就像芭蕾舞表演或职业摔跤一样，我们在上演一场表演。多年来，以施虐与受虐(BDSM)为主题的网站“怪癖”(Kink)就一直在通过一个名为“怪癖背后”(Behind Kink)的项目为其性爱情景提供背景，包括显示情景的编排过程、以及表演者明确表示可承受极限的视频。他们的影片还展示了一个叫做“后护理”的做法，其中，体验了极端施虐与受虐的参与者们讨论他们刚刚做了什么，以及他们对所做之事的感觉。（不幸的是，“怪癖背后”项目失去了动力，似乎已在2016年停了。）

Context reminds people of all the things they don’t see in the final product. It underscores that pornography is a performance, that just as in ballet or professional wrestling, we are putting on a show. For years the B.D.S.M.-focused website Kink provided context for its sex scenes through a project called Behind Kink, with videos that showed the scenes being planned and performers stating their limits. Their films also showed a practice called “aftercare,” in which participants in an intense B.D.S.M. experience discuss what they’ve just done and how they’re feeling about it. (Unfortunately, the Behind Kink project lost momentum and appears to have stalled out in 2016.)

塞妮·露易丝·休斯顿的制作公司专门从事同性恋色情作品，她曾经做过拍片场现直播，让观众看到制作色情作品的真实情况。我一直试图通过博客文章和宣传片，为我的露骨作品提供至少最基本的背景。

Shine Louise Houston, whose production company is dedicated to queer pornography, has live-streamed behind the scenes from the set, enabling viewers to see what making pornography is really like. I have always tried to provide at least minimum context for my explicit work, through blog posts and in promotional copy.

许多其他的演员和导演都用博客平台或者写文章，讨论他们特别喜欢的剧情或者他们喜欢的场景，通常让好奇者得以在比喻性的幕后窥视。还有一些人写过回忆录，比如泰勒·奈特(Tyler Knight)、阿萨·阿基拉(Asa Akira)、克里斯蒂·坎尼昂(Christy Canyon)、安妮·斯普克勒(Annie Sprinkle)和丹尼·威尔德(Danny Wylde)。

Many other performers and directors maintain blogs or write articles discussing scenes they particularly enjoyed doing or sets they liked being on, and generally allowing the curious to get a peek behind the metaphorical curtain. Some, like Tyler Knight, Asa Akira, Christy Canyon, Annie Sprinkle and Danny Wylde, have written memoirs.

当观众得以了解背景时，他们能看到我们讨论我们的界限，讨论对性交传染的疾病进行筛查，以及谈论我们如何选择戏伴。偶尔，他们甚至能看到我们坦诚地讨论我们如何在资本主义、宣传和性行为的浑浊中找到方向。

When viewers have access to context, they can see us discussing our boundaries, talking about getting screened for sexually transmittable infections and chatting about how we choose partners. Occasionally, they can even see us laying bare how we navigate the murky intersection of capitalism, publicity and sexuality.

但是，当一件作品被盗版上传到许多免费提供材料的“免费频道”网站时，这些背景通常会被删除。那些网站是大部分色情作品被在线观看的地方，而且免费的意思就是不需要信用卡——让未成年人更容易看色情片。所以，色情作品带来的问题与其传播方式是分不开的。

But this context is usually stripped out when a work is pirated and uploaded to one of the many “free tube” sites that offer material without charge. These sites are where the bulk of pornography is being viewed online, and by definition don’t require a credit card — making it easier for minors to see porn. And so the problems that come with porn are inseparable from the way it’s distributed.

色情作品的传播方式也决定着青少年最容易接触到的色情内容类型。我经常听到色情电影只迎合男人口味的抨击。这不太公平：是的，虽然大多数异性恋的色情作品迎合一种类型的男人，但忽略其他的色情作品的做法，有损那些几十年来致力于制作女性凝视、或为了女性凝视的色情作品制作者。

How it’s distributed also shapes the type of porn that is most readily available to teenagers. I frequently hear pornography maligned as catering only to men. That’s not quite fair: Most heterosexual pornography caters to one type of man, yes, but to ignore the rest does a disservice the pornographers who have been creating work with a female gaze, or for the female gaze, for decades.

肯迪达·罗亚尔(Candida Royalle)曾在1984年创建了Femme制片公司，并在1986年创建了Femme发行公司。欧薇蒂和埃里卡·拉斯特(Ovidie and Erika Lust)一直在制作针对女性的色情作品，已有十年之久。当然，她们的作品也不是那种在免费网站上容易找到的东西。但也有许多男人喜欢这类作品——就像有些女性喜欢看漂金发女子下跪一样。

Candida Royalle founded Femme Productions in 1984 and Femme Distribution in 1986. Ovidie and Erika Lust have been making pornography aimed at women for over 10 years. Of course, their work also isn’t the sort of content that’s easy to find on free sites. But plenty of men enjoy this sort of work, too — just as some women like seeing bleach blondes on their knees.

性行为和性幻想是很复杂的东西。如此之多的情感上安全的性行为取决于你对伴侣的了解和关注。我们从事这个行业的人可以为我们的工作增加背景，但我不知道最终是否有可能，让一个旨在提供娱乐的媒体定期地展示这些无形的概念。我们不能靠色情作品教人通情，教人阅读他人肢体语言的能力，或者如何讨论性行为的界限——尤其是当我们谈论的对象是从未有过性行为的年轻人。色情作品永远不会取代性教育。

Sex and sexual fantasies are complicated. So much of emotionally safer sex is dependent on knowing and paying attention to your partner. We in the industry can add context to our work, but I don’t know that it’s possible, at the end of the day, for what is meant to be an entertainment medium to regularly demonstrate concepts as intangible as these. We cannot rely on pornography to teach empathy, the ability to read body language, or how to discuss sexual boundaries — especially when we’re talking about young people who have never had sex. Porn will never be a replacement for sex education.

但色情作品也不会消失。这意味着我们需要作出选择。我们可以把头埋在沙子里，或者除了推动对年轻人再次进行真正的性教育之外，我们可以着手解决定义色情作品范围的工作，评估什么能行、以及我们可以定性判断的好作品，并尝试建立一个更好的性产业、以及对性的文化理解。我选择的词是“尝试”。

But porn is also not going anywhere. That means that we have a choice to make. We can hide our heads in the sand, or we can — in addition to pushing for real lessons on sex for young people again — tackle the job of understanding the range of what porn is, evaluating what’s working and what we can qualitatively judge as good, and try to build a better industry and cultural understanding of sex. I choose to try.

Stoya是一名色情片从业者、自由职业作者。

翻译：Cindy Hao

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