Dirty Diaries, a montage of 12 pornographic films by Swedish feminist documentary maker Mia Engberg, was released last week, sparking considerable public debate.
The Swedish Film Institute contributed EUR 49,000 to the controversial project, which has outraged some sectors of society, notably author of the Anti-Feminist Initiative blog and member of the Swedish Moderate Party Youth Organisation, Beatrice Fredriksson.
In the lead-up to the release, Engberg claimed that pornography has traditionally been made by men for men, and that she aimed to rebuff the porn industry’s sexist tendencies, whereby women are treated as merely objects.
Dirty Dairies instead focuses on the more natural side of female sexuality, displaying sex through a female perspective. Engberg has also claimed that female sexuality is more multi-faceted than that of men. Her ambition is to make pornography more appealing to women. Previously, Engberg had directed a lesbian pornographic film containing images of female facial expressions during orgasm.
Dirty Diaries includes such vignettes as “On Your Back Woman” and “Flasher Girl on Tour” as part of what Engberg hopes will make what is considered an alternate genre mainstream.
Fredriksson slammed the Swedish Film Institute’s donation, arguing that art of any form is subjective and that the decision has created a double standard where male porn does not receive the same recognition as art as Engberg’s work. Fredriksson argues that by labelling the movie ‘feminist’, Engberg has been able to garner taxpayer cash which could have been better spent in areas such as education, stating that government sponsored pornography in any form is harmful.
A spokesperson for the Swedish Film Institute defended the funding, claiming that Engberg’s film was, in both content and form, and an ambitious project which met funding criteria.
I think the concept of “Dirty Diaries” is a brilliant and powerful project by filmmaker Mia Engberg. Of course by its very nature it’s bound to cause controversy, in the same way Sally Mann’s third book “Immediate Family” published in 1992 of nude images of her children created a huge out cry from all sorts of groups here in the US, despite the NY Times saying,“Probably no photographer in history has enjoyed such a burst of success in the art world.” And The New Republic considered it “one of the great photograph books of our time.”
Enenberg’s genre will take time to establish itself as the female-side of pornography, which has traditionally always been produced for the pleasure of men. One of her primary aims is to “rebuff the porn industry’s sexist tendencies, whereby women are treated as merely objects…and…”instead focuses on the more natural side of female sexuality, displaying sex through a female perspective.” Engberg has also claimed that female sexuality is more multi-faceted than that of men. She hopes her films will make female-oriented porn more attractive to women.
The Swedish Film Institute defended the funding of $56,000 EUR, claiming that Engberg’s film was artistic, in both content and form, and an ambitious project which met funding criteria. I’m delighted the Swedish Film Institute stood behind her and support her effort – all to often the NEA here in America gets political pressure to cancel funding on controversial projects.
Lawrence Elliott, MD, BCS
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