Week 3 Blog Post: OnlyFans’ banning explicit content
“OnlyFans isn’t banning porn now. But sex workers still have reason to worry.“
This article by Noelle Perdue delves into OnlyFans’ decision to suddenly ban all explicit content. OnlyFans is an internet subscription service where creators can earn money directly from their subscribers. It quickly turned into a platform largely revolving around sex and sex work. This company quite literally rose to fame through its exploitation of sex workers, and some sex workers themselves have shared that OnlyFans helps them gain income and gain a following. Her article is interesting and Perdue writes with a strong voice, saying that:
“This is merely the latest addition in a long history of tech platforms trying out born-again virginity after building their fortunes off the labor of sex workers.”
“For many sex workers, online platforms were a place to make money without incurring the risk of meeting someone in person during a pandemic. They provide options for performers to stay independent, maintaining ownership of their own image and content instead of signing away usage rights (as is typical in traditional studio porn).”
Perdue continues to question OnlyFans’ decision, ending her article with poignant messages:
“Instead of holding the institutions accountable to safer business practices, these policy changes decimate the livelihoods of sex workers and put them at greater risk.”
“There is a war being waged against sex workers online, despite the fact they built the foundations these companies stand on.”
OnlyFans is a very modern platform that can fit both the definition of pornography and entertainment; the lines are blurry because it is such a personalized website. I’m interested to hear what others may think about Perdue’s criticisms on OnlyFans’ decision to ban explicit content, and I’m also curious to see how her arguments may fit into Robin Morgan and Ann Snitow’s pieces we read for today.
Week 2 Blog Post: Film Study of Sara Jane’s imitation
“Race and Authenticity: A Film Study on Douglas Sirk’s Imitation of Life” by Ilari Pass
“The mise-en-scene sets the stage for the world outside looking into this experience. The color in the film brings out the vibrant richness in their costumes, which underscores the importance of pretending in this world, and the melodramatic music score works with the dramatic camera angles and lighting, suggesting that both Sarah Jane and Annie are seemingly radiant, but with an emotional and physical exhaustion that undermines the beauty. The music emphasizes the drama of pretending, while the cinematography brings the audience close to the characters’ suffering.” (Pass)
Ilari Pass’ brief article sheds light on the mise-en-scene and cinematographic choices of Douglas Sirk’s film, Imitation of Life. The film employs very dramatic camera angles and shots, commonly using medium close-up shots and close-up shots of Sara Jane’s face and eyes to show viewers her anger and vulnerability. Pass essentially writes that every character in the film is pretending or imitating (one way or another). Sara Jane’s case is particularly interesting because she uses imitation as a form of escaping and repressing in such an intense way.