Before reading further, be advised that SLAUGHTER DISC: A TALE FROM THE CARNAL MORGUE is a hardcore porn film, featuring real sexual penetration and fake snuff-style violence. The film is not appropriate for minors, and this post and accompanying images will be more explicit than usual. (Not that female nipples require an excuse or apology.) Normally, I wouldn’t bother with reviewing a porn film, but the fact that it was described to me as an anti-porn porn film caught my attention. The tagline, “Bondage, Murder, Self-Mutilation, Cannibalism, Necrophilia – these are just the icing on the cake of this journey into Hell,” sealed the deal.
The film is based upon director David Quitmeyer’s short story called “The Tape,” in which the spirit of a murdered porn star takes revenge upon male viewers who abuse pornography and objectify women.
The protagonist, Mike, is a pathetic college man who is so addicted to pornography that he cannot have a successful relationship with real women. His habit puts him in debt, causes him to lose his job, and even isolates him from his same-sex friends. But Mike isn’t a “harmless” consumer. When he isn’t pursuing his latest perverse or absurd fetishes (clown sex!), he participates in a drunken gang-bang at a fraternity party, an encounter that he only dimly remembers the next morning. Rather than worry that he may have committed rape, Mike predictably panics over the possibility that the he may have had sex with a “fat girl.”
One day, Mike learns of a new DVD so explicit that it is banned in every country. Delighted, he pays the website’s rather exorbitant fee and the disk arrives in the mail soon after. The DVD’s female anti-hero, Andromeda Strange, does indeed offer a spectacle different from standard pornographic fare. In the first scene, she masturbates until she ejaculates blood, then slashes herself with a razor. Mike is disturbed, but somewhat aroused by this display of female masochism. In the subsequent scenes, Andromeda has sex with a variety of bound and gagged male victims, whom she treats as passive playthings for her own pleasure. Interestingly, she never achieves orgasm unless by self-stimulation. Perhaps orgasm is too associated with surrender and a loss of bodily control. After an otherwise standard porn scene involving a “cum facial,” Andromeda retorts, “Guess what else I like having sprayed all over my body,” slashes the man’s throat, and bathes in his blood. Another man calls her a bitch, and she bashes his head in with a hammer. Obviously, Mike is not prepared for this onslaught of misandrist snuff, but he can’t stop watching. In the final scene, Andromeda crosses over into Mike’s reality and then claims him as her victim.
I enjoyed Quitmeyer’s creation of a female character with true power and agency, but his film still cannot escape the dominant/submissive binary that defines the genre. But perhaps Quitmeyer’s methods really are more subversive. All hardcore porn films are designed to trigger an orgasm in their masturbating viewers, ideally when the performers reach orgasm. Feminist critics such as Catharine MacKinnon assert that male viewers are being conditioned to orgasm to the degradation of women (In Are Women Human?: And Other International Dialogues, p. 88). Slaughter Disk seeks to deprogram this response in some obvious ways. During the more conventionally “sexy” moments, the camera cuts away from Andromeda’s sexual gymnastics to Mike masturbating. Something about his skinny, whipped-dog body, and vacant stare is the antithesis of sexiness. The message to viewers is “This is you,” and this sort of identification is highly unappealing.
And of course, the male victims are killed at precisely the moment when the viewer is supposed to reach orgasm. Nor does the film make an attempt to show what women’s sexuality might actually look like—Andromeda spends the majority of time catering to male fantasies before brutally letting her “lovers” know how fundamentally wrong their desires are. Like conventional horror films, Slaughter Disk achieves a perverse form of gender equality by elevating the status of women, but also by figuratively and literally cutting men down to size—both socially and via physical mutilation.
(This post was adapted from an excerpt within my earlier work “Carnage and Carnality: Gender and Corporeality in the Modern Horror Film,” originally published in No Limits! A Journal of Women’s and Gender Studies, 2011, Vol.1.)