Like much of contemporary sexual culture, and like so many of the constituent parts of Thirdly, we can also safely assume, based on the large number of similar videos that haveīegun to emerge across a range of tube sites and associated discussion fora, that ‘popperbating’ and popperbate videos are a relatively popular recent development in the Genre codes) with older popular traditions and communicative practices (storytelling, family VernacularĬreativity is a productive articulation of consumer practices and knowledges (of, say, television Part of the contemporary vernacular the experience of commercial popular culture. €˜pure’ or authentic folk culture placed in opposition to the mass media rather, it includes as €˜vernacular creativity’, then, does not imply the reinvigoration of some notion of a pre-existing Is an especially vivid illustration of Burgess’ concept because she notes that: Indeed, in many regards,Īs we will note later on in this article, we might argue that this form of cultural production What Jean Burgess (2006) has described as ‘vernacular creativity’.
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Material is distributed, the textual qualities of the collage and the level of technical proficiency evinced – that the video is an example of amateur porn production which illustrates Secondly, we might go on to suggest – given the platforms through which this This article as a video collage is an individual going by the online identity of Megapopperbator. In the first instance, we can confidently infer that the author of what I will describe in So what assumptions is it fair to make about this speciï¬c cultural artefact? Question of attribution means that porn researchers ï¬nd themselves forced to make inferences about the material that becomes an object of study in a context such as this article. Of ostensibly anonymous content of indeterminate provenance uploaded to the web, the Range of sexual acts progressing from frottage to anal sex, accompanied by a throbbingĮlectronic dance track, that makes up the ï¬rst 90 seconds of a 16-minute video pieceĬONTACT John 2017 Informa UK Limited, trading as Taylor & Francis GroupĮntitled ‘Popper Trainer Compilation Megapopperbator ’.1 As with the majority Montage of still and moving images of nude, sexually aroused men, engaging in a This precisely scripted list of instructions appears as text superimposed over a pulsating Prepare you poppers, lube, cockring and put the sound high volume, The textual qualities of the videos, and to discuss the sexual Orientations to situate popperbate videos and for the analysis of This creative practice and to provide some tentative conceptual The intention of this article is to context ualize Of what Jean Burgess has described as ‘vernacular creativity’,Ĭonstruct masturbation as an activity that might be regarded as IĪrgue that these popperbate videos, which function as examples Training activity, known by its practitioners as ‘popperbating’. Use, into a pursuit that is elevated to the status of a competitive Masturbation often described as ‘edging’, fuelled by amyl nitrate Videos are designed for the express purpose of aiding a form of Moving-image gay porn, still images, text and music.
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Repurpose a range of found sources including commercial Porn, usually circulated via porn aggregators such as Xtube,Ĭonstitute what might be described as video collages that In this article I explore the contemporary amateur practice of Popperbate: video collage, vernacular creativity and theīirmingham Centre for Media and Cultural Research, Birmingham City University, Birmingham, UK To cite this article: John Mercer (2017) Popperbate: video collage, vernacular creativityĪnd the scripting of the gay pornographic body, Porn Studies, 4:2, 242-256, DOI:įull Terms & Conditions of access and use can be found at Popperbate: video collage, vernacular creativityĪnd the scripting of the gay pornographic body