Freedom through Slavery: Documenting the Scene
By Mike White
The fin de siècle of the Twentieth Century hosted a disproportionally large amount of documentaries centered on the BDSM lifestyle. The tectonic shift from the ‘70’s swinging free love to the ‘80’s plague paranoia brought about major shifts in sexuality and a gradual change in acceptable societal behavior. Even as late as 1994, topics such as masturbation were still too inflammatory for the American public to handle[1]. In Europe, specifically German, a 1985 film by Klaus Tuschen, Domina – Die Last mit der Lust, proved an early entry in what would become a fairly commonplace exercise of documenting the theory and practice of BDSM.
Germany has continued to be a reliable source for similar films[2], joined in the 1990s by Denmark and, finally the United States with 1995’s Bloodsisters by Michelle Handelmann. This hotly contested work upset conservative audiences with its combination of BDSM and lesbian subject matter. Yet, this opened the door for other films tackling BDSM including Nick Broomfield’s Fetishes. Shown on HBO in 1997, Fetishes exposed an untold number of viewers to BDSM and opened the floodgates for dozens of subsequent films that have tread similar ground, focusing on the many facets of BDSM.
Dominans (Steen Schapiro, 1994, Denmark)
The middle chapter of Steen Schapiro’s Art Core Trilogy, Dominans is a beautifully-shot meditation on power exchange. The 40-minute work is broken into three chapters that focus on two dominant females and one dominant male. That their submissives aren’t given a voice isn’t an issue as the dominants sound completely in touch with their submissives’ feelings and needs.
Shooting in three Danish S&M clubs, Schapiro literally draws back the curtain to reveal the dynamics of some very complex and rich relationships. The paradoxes of BDSM—the freedom that can be gained through submission, the gifts received when giving up everything, the sensitivity to your lover’s needs when one’s playing the role of a hardened dominant—are all brought to light.
Schapiro allows the participants to speak for themselves, avoiding the inclusion of a pedantic expert as if to legitimize the practices described and demonstrated. Apparently the Danish government felt that everything was legitimate enough to fund Dominans, have it shown on public television, and make it available as an education tool in any of the country’s public libraries.
Bloodsisters (Michelle Handelman, 1995, USA)
Delving deep, this film documents a subculture within a subculture: the BDSM scene within the lesbians of San Francisco. Seen by some within the community as being “traitors to the cause”—as if participating in BDSM continues patriarchal oppression—the practitioners are the queerest of the queer.
The group’s strong desire for self-definition shines through this leather-swathed documentary. Director Michelle Handelman expresses this via scenes of activism, demonstrations of BDSM techniques, and discussions of terminology by the participants of Bloodsisters.
In direct contrast to Steen Schapiro’s Dominans, Handelman fell victim to the Puritanical mores of America. The film was flogged by the conservative American Family Association as exemplifying the “immoral” uses of the National Endowment of the Arts[3].
Strictly Speaking (Kirk Demorest, 1996, USA)
While Bloodsisters occasionally becomes mired in mid-‘90s video effects, Kirk Demorest’s Strictly Speaking is lousy with them. Strictly Speaking centers on Mistress Karen who narrates the film and explains terms, implements, and concepts. Shown in small floating boxes, Mistress Karen is visually fragmented. This technique keeps the viewer from fully seeing the twenty-something Domme. This treatment feels appropriate as Mistress Karen slowly doles out personal information. Near the end of the hour-long work, she drops a bombshell: our faithful narrator reveals that she’s still a virgin as to prove that BDSM can be the safest sex around
Also helping with the proceedings is model/actress Monique Parent[4], who struts her stuff in fetish garb, demonstrating a few of the practices discussed. The visuals are peppered with stock clips from films like C’era Una Volta…, The April Fools, and The Rocky Horror Picture Show[5] to display the pervasive presence of BDSM/fetish themes in popular culture. This clever use of pre-existing material is only outshone by the insightful discussion of the nascent Internet and its impact on the scene.
Fetishes (Nick Broomfield, 1996, USA)
Part of the “American Undercover” series of HBO documentaries, Nick Broomfield’s piece could have easily been a “freak of the week” exploitation of society’s demersal elements. Instead, the film is a relatively evenhanded look at a heretofore unexplored underworld, that of the professional dungeon.
The bulk of Fetishes takes place at Pandora’s Box, an upscale dungeon at the heart of Manhattan—hiding in plain sight. Broomfield focuses on several of the professional dominatrices at the establishment, exploring their scene specialties as well as their home life. At the crux of Fetishes is the question of whether the women who help craft psychodramas all day at work can (or should) divorce themselves of this during their off hours.
Broomfield misses the opportunity to display life at Pandora’s Box between appointments. By avoiding the grind, life in the dungeon looks fairly glamorous. This is starkly contrasted by Eva Heldmann’s 2007 documentary about a professional dungeon cum brothel in Germany, Five Sex Rooms and a Kitchen[6]. Heldmann’s film shows the daily grind of operating a house of ill-repute.
Several scenes are remarkable in their raw emotion including submissive fetish film director Maria Beatty examining her bottom after a particularly vicious beating and one Domme explaining the pain of womanhood to a client engaged in feminization. Broomfield focuses on the more extreme clientele and often sounds unsympathetic in his narration.
Playing to the large HBO audience, Fetishes helped legitimize the scene; paving the way for BDSM documentaries to come. Additionally, Broomfield’s aesthetic also helped establish the trappings of so-called “reality television.”
A Weekend at Miss Martindale’s (Laurie Sparham, 1996, UK)
Marianne Martindale’s mystic realm, Aristasia, is situated in an English suburb. The neighbors don’t seem to know what to make of the statuesque Martindale (nee Catherine Tyrell) and the cavalcade of girls stopping by for a stint at her school.
Sparham’s film never rises out of the mire of Martindale’s Aristasia claptrap[7]. Apparently entranced by the sound of her own voice, Martindale waxes poetically about her fantastic gynocentric kingdom. This plays poorly against the film’s visuals which are more appropriate to a low grade porn film than a documentary.
Didn’t Do It for Love (Monika Treut, 1997, Germany)
The boom period for BDSM documentaries was a busy time for Ava Taurel (nee Eva Norvind nee Eva Johanne Chegodayeva Sakonskay). The main subject of this Monika Treut film, Taurel also appeared in Whipped and Tops & Bottoms.
This Norwegian beauty was a sex symbol of Mexican cinema in the ‘60s before becoming one of the most outspoken dominatrices in New York City in the ‘80s. These two slices of Taurel’s life, along with several others, are on display in Treut’s multifaceted film. While Taurel has led a disparate life, too much of the film consists of talking head interviews that don’t manage to express the wild ride Taurel has taken.
Whipped (Sasha Waters & Iana Porter, 1998, USA)
Picking up where Didn’t Do It for Love left off, Sasha Waters’s and Iana Porter’s work focuses on three dominatrices, including Ava Taurel. The audience shares more scenes of Taurel interacting with her submissive, Gerard O’Neal. Also along for the ride are Mistress Sonja Blaze and her co-owner of the Arena/Blaze dungeon, Mistress Carrie Cokely.
After meandering through some workshops scenes, Whipped finally arrives at the central thread of the film; the triangular relationship between Mistress Carrie, her new husband, Donald, and her sad sack slave, John S. If Donald is in the BDSM lifestyle, he certainly doesn’t portray it in Whipped. Old enough to be Carrie’s father, he comes across as a curmudgeon who doesn’t understand anything other than his vanilla life. Dennis is a refreshing, albeit frustratingly close-minded, addition to the film as he gives honest outsider opinions on what can otherwise be a cloistered world.
The parallels between Whipped and Fetishes are plentiful; same shit, different dungeon. The biggest differences lay in the production values and the intimacy of the two films. Certainly that Waters and Porter are women helped increase the empathy between filmmaker and subject but not enough to overcome this rambling film.
Tops & Bottoms (Cristine Richey, 1999, Canada)
“How do you let your dark desires out?” asks the breathy female narrator of Tops & Bottoms, another entry in the voyeuristic documentaries about the “dark and secretive” underworld of sadomasochism. What sets Tops & Bottoms apart from the glossy titillation of Nick Broomfield’s Fetishes or the meandering Whipped is director Cristine Richey’s presentation of S&M history from the Flagellants of the Middle Ages to today.
Richey provides the historical development of S&M, showing that the subculture tends to flourish in times of great societal repression. Take for example England’s Victorianism where caning was popularized; a quick glimpse at any British skin magazines reveals a spanking or thrashing story or two. Likewise, while Mom & Apple Pie were glorified as being All-American in the ’50s, Irving Klaw was cranking out bondage-themed nudie-cuties starring America’s Sweetheart, Bettie Page.
To give viewers a glimpse at the modern scene, Richey interjects the story of a creepy Dominant, Robert Dante, his wife, Mary, and their new slave, Mercedes. We’re given the opportunity to see Robert breaking in Mercedes as well as hearing the polyamorous trio describe their backgrounds and opine reasons for their need to be either Dominant or submissive. Along with this, Richey presents viewers with a plethora of psychological explanations for the fulfillment garnered in a BDSM relationship.
By showing fetishism in modern advertising, Richey seems to imply that BDSM subculture has encroached the mainstream. Perhaps BDSM can move from the shadowy corners of sexuality and be accepted, if not at least acknowledged as a viable form of self-expression. The reality is that BDSM is still considered perverse and shameful. For women, it’s wrongfully perceived to fly in the face of feminism as if submission is being confused with abject passivity and a denial of one’s ability of self-determination. For men, submission is seen as a shirking of masculine responsibility.
Occasionally the documentary becomes overly clinical in its study of Dominant and submissive roles in history that are meant to parallel those in a psychosexual relationship. A reliance on Erich Fromm’s theories about man’s fear of freedom and the wish to give up free will may confuse audiences with the metaphorical comparisons of the interrelationship between the bourgeoisie and the proletariat and a Dom/me and His/Her submissive. Likewise, this may give the impression that BDSM can be likened to a personal form of fascism. This complicated fetishism of power is further explored in the 2008 Israeli documentary Stalags by Ari Libsker.
Beyond Vanilla (Claes Lilja, 2001, US)
The opening scene of Beyond Vanilla shows director Claes Lilja explaining, in vaguely-accented English, that the one has to “venture into areas which are a little uncomfortable at first in order to understand them.” Audiences of Beyond Vanilla undoubtedly begin at a level of slight discomfort brought about by the seemingly ceaseless opening montage that sets a breakneck editing pace that only slows slightly when the film finally settles on a subject before quickly jumping to the next. From there, the distress only increases as Lilja delves deeper than any of the aforementioned documentaries have gone thus far.
Rather than a simple discourse on spanking in its various forms (flogging, whipping, caning, etc), Beyond Vanilla touches on topics as diverse as breath control, piercing, cutting, ball-stretching, catheterization, electrical play, water sports, coprophilia, and fisting. Moreover, Lilja’s documentary is one of the first to openly acknowledge that gay men enjoy BDSM too[8].
Too many BDSM documentaries try to separate the scene from sex as if attempting to legitimize the practice of professional domination and further extricate it from prostitution. Essentially, this neuters BDSM of its fun and turns the practice into a mixture of fashion show and psychodrama. BDSM can exist without sex and sex can exist without BDSM. In Beyond Vanilla there is no mutual exclusion as interviewees admit to enjoying orgasms from these activities!
Beyond Vanilla is not without its flaws. Lilja’s injected appearances prove highly distracting as do his use of cheap video effects that lend a “first time camcorder user” feel to the proceedings. Star wipes, color filters, and cheesy on-screen titles threaten to undermine the tone, if not credibility, of the film as a whole. Luckily, the subject matter and strong interviews (apart from pedantic how-to instructor Kevin Dailey) keep Beyond Vanilla on track as one of the most comprehensive and open-minded BDSM documentaries yet.
Bound for Pleasure (David Blyth, 2002, New Zealand)
Going down under, this film focuses on a wide cross-section of Dommes in New Zealand from the eloquent Mistress J (author of Private Theater) to a Dominant family who’re the Kiwi equivalent of “white trash”. The interviewees stress the difference between a ProDomme and a “hooker with a whip” before contrasting strict and sensual dominatrix. This is one of the few documentaries which addresses the all important process of “after care,” the treatment of a submissive when a scene comes to a close and they are in another headspace, high on fantasy and endorphins. This is also one of the only films that discuss strap-on play and the way gender can be transformed during a scene.
BDSM – Alternative Loving (Courtney Smith, 2002, Canada)
There’s a refreshing slickness to Courtney Smith’s investigation of BDSM. Narrated by the honey-voiced Angela Bowie (ex-wife of David), Smith has attempted to make the definitive documentary on BDSM. From Caligula to de Sade to Bettie Page, BDSM – Alternative Loving begins with a history of kink and the pre-requisite definition of terms. The attempt at being all-encompassing along with the need to legitimize the alternative to the mainstream tends to dilute the impact of its message. Couple this with echoed sentiments amongst the interviews and the film threatens to get redundant at times.
Fortunately, Smith’s work delves deeper and casts its net farther than other documentaries of its ilk, bringing to light several topics heretofore unexplored in previous BDSM documentaries. Viola Johnson discusses the differences between “slavery” and “submission”—two terms that some find interchangeable where others find the former term offensive due to its historical connotations. This speaks to the idea of transformation running throughout Smith’s film. When violence is consensual, it ceases to be violence. Pain becomes “intense sensation.” Slavery stems from love. And, in actuality, submissives hold the power as they can end the scene with one utterance of their safe word.
Smith also spotlights the scene’s secret shame: Gor. Based on John Norman’s fantasy book series and turned into a way of life, Gorean play is the BDSM equivalent of Scientology. This only receives a brief mention while the section on forniphilia (the use of bodies as furniture) goes on for too long and lacks the ability to convey its appeal to either forniphiliac artist Jeff Gord[9] or his models.
While not perfect, BDSM – Alternative Loving is an admirable attempt at a comprehensive take on BDSM.
Headspace (Mia Olin, 2003, US)
Fetish: Pain or Pleasure? (Ania and Bob Shami, 2005, USA)
These two documentaries are somewhere between vanity projects and infomercials, encapsulating all of the elements that can subvert meaningful documentary films. Mia Olin’s Headspace follows a clique who use BDSM as performance art; enjoying shock for shock’s sake. Their insular group objects to the opinions and actions of anyone outside of their clique. Meanwhile, Fetish: Pain or Pleasure? appears to be a seventy-five minute advertisement for three ProDommes. Two of these seem to have gone out of business in the few years since the film was produced; no surprise as one them seemed so ashamed of her profession that she was shot in silhouette the entire time, like a repentant criminal.
Born in a Barn (Elizabeth Elson, 2005, USA)
Rather than taking on the broad range of fetishes which can comprise a BDSM scene, Elizabeth Elson focuses solely on pony play. Best known through Anne Rice’s Beauty series, pony play is a type of roleplay wherein humans are dressed and treated like horses[10]. At the center of Elson’s work is Trigger, an older guy with a big gut and strong shoulders who is having a barn built for himself to play into his desired lifestyle. While interesting in the way pony play may (or may not) be used for foreplay, the documentary tends to drag even at its abbreviated length.
Liberty in Restraint (Michael Ney, 2005, Australia)
The story of photographer Noel Graydon, an Australian fetish photographer and Dom; Michael Ney’s meandering documentary explores Graydon’s career, past misdeeds, and the part he plays in the BDSM community. Graydon works to bring the fetish world into the light. “The amount of dark images I've done with fetish is minimal because I'm actually trying to show the light and the beauty and the love,” Graydon says.
Liberty in Restraint gives a lot of screen time to Graydon’s friend, Mistress Felina, an expert in rope bondage who puts her subjects in elaborate Japanese configurations. Her work provides the photographer with some remarkable images. Other interviewees include members of the Sydney Hellfire Club, DV8 House, and various BDSM practitioners.
Filled with his lush photography, the film is a trifle schizophrenic with infrequent stops throughout to host interviews with members of the scene. This uneven mixture puts the viewer on rocky ground; providing too much of one thing and not enough of another.
Tears before Bedtime (Kevin Klehr, 2006, Australia)
Unlike Nick Broomfield, director Kevin Klehr bites the bullet and undergoes a light flogging during his film. Tears before Bedtime focuses on a handful of fetishists in Australia with special attention to eloquent Mistress Synna and effusive submissive Paul. The majority of the film consists of talking head interviews with subjects recounting their histories, boundaries and proclivities.
Algolagnia (Túlio Bambino, 2006, Brazil)
Despite its abbreviated half hour running time, Tulio Bambino manages to pack a lot of information into Algolagnia. Named after another term for sadomasochism, “algolagnia” is just one of words Bambino works to define. At one point the screen is filled with fetish terminology spanning an impossible gamut. Like some of the subject in Tears before Bedtime, participants in Algolagnia speak about the wide and varied playing field of fetishism and how one continually pushes one’s boundaries. The likens the nature of BDSM to narcotics. “You start small and you want more and more,” confesses subject Rosa Negra.
Bambino does well to profile a cross section of Brazilian scenesters with a wide range of experience. Algolagnia address the prejudice against Switches—people who play either the Dominant or submissive roles in a BDSM relationship. These adventurous souls are often condemned as being indecisive.
None of the film’s participants is shown clearly—they’re masked, blurred, turned away from the camera, or fragmented in extreme close-up. This anonymity implies the lack of acceptance of BDSM in Brazilian society, perhaps due to the strong religious hold on their culture. No English language BDSM documentary has breached the religious implications of a fetish-friendly lifestyle.
Vice & Consent (Howard Scott Warshaw, 2006, USA)
Described as “the last form of sexuality where you have to take classes to do it right,” the importance of education in and about BDSM is at the heart of Vice & Consent. Howard Scott Warshaw’s film is highly informative with screens featuring definitions (“top”, “bottom”, “to do a scene”, etc.) and its struggle to disprove the stereotypes held about participants in the lifestyle.
Contrasting the notions broadcast via popular media and pornography, Vice & Consent stresses the importance of community, safety, and negotiation. The myth that BDSM is a forum in which adults work out childhood sexual trauma comes to the fore with participants relating their introduction to the practice and how they learned the ropes. A few even submit that some people are kinky by nature, not by choice.
There are many familiar faces in Vice & Consent including Evil Mommy Tina, Lady Green (AKA Janet Hardy), and Jay Wiseman; all three were interviewed in Claes Lilja’s Beyond Vanilla. However, better production values, make-up and lighting have them all looking far better here. Along with other BDSM luminaries such as Midori (The Seductive Art of Japanese Bondage), Clea Dubois, and Dossie Easton (to name a few), Vice & Consent boasts an eloquent host of interviewees.
While espousing the benefits of being true to oneself and opening up one’s mind to different possibilities, there is also the truthful nugget that the taboo nature of BDSM gives it some of its allure. As Mollena Williams says, “Rubbing against social mores makes it hot.”
Susan for Now (Robin Franzi, 2007, USA)
Opening as a first-person account of a woman finding herself and fulfillment via BDSM, Robin Franzi’s film quickly becomes an exploration of the overall BDSM scene in Seattle. “I used to say my name was ‘Susan for now’ until I got to know them better and the screening process turned into an acquaintance,” says Franzi. “The nickname sort of stuck, particularly when I started exploring this lifestyle. I researched and experimented with BDSM play and, though I was no stranger to what it meant, it was the first time I had a chance to explore firsthand.”
Doing well to ignore the ProDomme arena that too many films explore, Susan for Now deals with the reality of individuals who engage in BDSM activities as their primary means of expression and satisfaction. Interviewees relate how they became involved in BDSM and, if they’re open members of the scene, how their “coming out” has affected their lives. While “safe words” are mentioned in several BDSM documentaries, Susan for Now includes some cautionary tales about limits and safety in play.
The personal aspect of Susan for Now gives the film a refreshingly honest outlook on the scene.
BDSM: It’s not what you Think (Erin Palmquist, 2008, USA)
Meant to dispel stereotypes and stigmas about BDSM, Erin Palmquist’s half-hour documentary is a beautifully-shot high level overview of kink. Originally a student project, the film transcends its budgetary constraints to deliver a concise, albeit cursory, discussion of BDSM. Palmquist includes humorous vignettes shot as early silent films. These recast scenes of “damsels in distress” in a new, fetishistic light and speak to the idea of rethinking one’s expectations and exploring oneself. “Any good BDSM session, I know more about myself when it’s done than I did going into it,” says Janet Hardy.
Graphic Sexual Horror (Barbara Bell & Anna Lorentzon, 2009, USA)
That there can be beauty found in torture proves to be the troublesome core of Graphic Sexual Horror, a look at Insex.com, a website that pushed the boundaries via its use of extreme bondage and anguish. The brainchild of PD (real name Brent Scott), Insex.com featured a cavalcade of attractive women undergoing myriad torments. These wild scenarios were only limited by the fertile and frightening imagination of PD and his website’s subscribers.
Directors Lorentzon and Bell (author of Stacking in Rivertown) document the rise and fall of the flagitious empire via frank interviews with several key players both behind the scenes and in front of the camera as well as footage that entertained patrons of the website. Though these clips often resembled scenes and a serial killer’s fantasies, the models were armed with safewords, paid for their trouble, and sought out PD to session with the ingenious sadist. When things went beyond where they should have, as was apt to happen with such extreme scenes, the results could be fairly scary or fascinating, as shown by the scene of a model reacting adversely to having her face slapped.
Eventually, Insex.com was brought down by a combination of problems inside (PD supporting a spooky drug addict) and out (the Homeland Security office pressuring the companies that provided merchant accounts to the site). During its run, however, the site gave new beauty to agony that shocked some but pleasured many more.
During the nearly twenty five years since Tuschen’s Domina – Die Last mit der Lust, the amount of mastigophoric movies has continued to steadily increase. This reflects both the rise of the documentary as well as frankness about so-called “deviant” sexual behavior. Not only are these films on the rise but festivals dedicated to programming “fetish” “kink” and “dirty” movies have been founded to support films like those mentioned above[11]. Ultimately, these films offer glimpses into the rich history of BDSM and the beautiful ballet that can take place on the dark stage of our minds.
[1] Surgeon General Forced to Resign by White House, Douglas Jehl, December 10, 1994, New York Times
[2] Other German-language fetish documentaries include:
Anna Domina (Horst Schier, 1993)
Herzfeuer (Thomas Bergmann & Mischka Popp, 1994)
Pain Is... (Stephen Dwoskin, 1997)
Love for Sale (Dominique Klughammer, 1999)
Safe, Sane & Consensual (Patrick Wanner, 2004)
Beruf - Domina: Das Geschäft mit Lust und Peitsche (Matzner Markus, 2006)
Gib's mir - Besuch bei einer Domina (Ines Jacob, 2006)
Qual oder Lust? Die bizarre Welt der Dominas (2007)
Machtspiele - Fetisch, Fesseln und Gefühle (Claudia Riemer, 2007)
[3] Handleman (sic) Won’t Sue Over Use of “Bloodsisters”, August 26, 1997, indieWIRE
[4] http://www.uniquemonique.com
[5] C’era Una Volta… (Francesco Rosi, 1967)
The April Fools (Stuart Rosenberg, 1969)
The Rocky Horror Picture Show (Jim Sharman, 1975)
[6] http://www.heldmannfilm.de/html/_dynamic_index.html?EHFmainFrame=/html/01-7_5sexrooms_e.html
[7] http://www.aristasia.co.uk
[8] Other films exploring this topic include Menmaniacs – The Legacy of Leather (Jochen Hick, 1995) and Folsom Street (Photo Tim, 2007)
[9] http://www.houseofgord.com
[10] http://www.thehumanequine.com
[11] Kinky Festival, Montreal Canada, http://www.kinkyfestival.com
Fetisch Film Festival, Kiel Germany, http://www.fetisch-film-festival.de
Cinekink, New York USA, http://cinekink.com
Rated X, Amsterdam The Netherlands, http://ratedx.nl
Other URLs of note:
Dominans (http://www.steenschapiro.dk)
Bloodsisters (http://www.michellehandelman.com)
Strictly Speaking (http://strictlyspeakingwithmistresskaren.com)
Fetishes (http://www.nickbroomfield.com/fetishes.html)
Whipped (http://www.undergroundfilm.com/films/detail.tcl?wid=1000075)
Beyond Vanilla (http://www.beyondvanilla.net)
Bound for Pleasure (http://davidblyth.com/bfp)
BDSM – Alternative Loving (http://www.bdsm-alternativeloving.com)
Headspace (http://www.headspacefilm.net)
Fetish: Pain or Pleasure (http://www.indieflix.com/Films/FETISHPAINORPLEASURE)
Born in a Barn (http://www.threegracesfilms.com)
Liberty in Restraint (http://www.libertyinrestraint.com)
Vice & Consent (http://www.viceandconsent.com)
Algolognia (http://imagenssonoras.blogspot.com)
Susan for Now (http://susanfornow.com)
BDSM: It’s not what you Think (http://www.erinpalmquist.com/BDSMdocumentary)
Graphic Sexual Horror (http://www.graphicsexualhorror.com)
For more information:
Fetlife (http://fetlife.com)
Society of Janus (http://www.soj.org)
Beauty in Darkness (http://beautyindarkness.blog.c)
BDSM Watch (http://www.bdsmwatch.com)
History of Spanking in Artwork and Photography (http://history.spanking-images.com/past)
Greenery Press (http://www.greenerypress.com)
SM Arts (http://www.sm-arts.com)
Fire Horse Productions (http://www.fhp-inc.com)
Sybil Holiday (http://www.spiralway.com)
Dossie Easton (http://www.dossieeaston.com)
