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Hardcore porn—both the straight and gay varieties—entered mainstream American culture in the 1970s as the sexual revolution swept away many of the cultural inhibitions and legal restraints on explicit sexual expression. The first porn movie ever to be reviewed by Variety, the entertainment industry’s leading trade journal, was Wakefield Poole’s Boys in the Sand (1971), a sexually-explicit gay movie shot on Fire Island with a budget of $4000. Moviegoers, celebrities and critics—both gay and straight—flocked to see Boys in the Sand when it opened in mainstream movie theaters in New York, Los Angeles and San Francisco. Within a year, Deep Throat, a heterosexual hardcore feature opened to rave reviews and a huge box office—exceeding that of many mainstream Hollywood features.
Almost all of those involved in making “commercial” gay pornographic movies began as amateurs in a field that had virtually never existed before, either as art or commerce. Many of their “underground” predecessors had repeatedly suffered arrest and other forms of legal harassment. There was no developed gay market and any films made commercially were shown in adult x-rated theaters. After the Stonewall riots and the emergence of the gay liberation movement in 1969, a number of entrepreneurs began to make gay adult movies for the new mail order market. The gay porn film industry grew dramatically during the next thirty years and transformed the way men—gay men in particular—conceived of masculinity and their sexuality. Bigger Than Life tells that story.
- Sales Rank: #757876 in eBooks
- Published on: 2009-05-26
- Released on: 2009-05-26
- Format: Kindle eBook
About the Author
Jeffrey Escoffier is director of health media marketing for the health department of the city of New York and the former deputy director for policy and research of the Office of Gay and Lesbian Health in New York City. He has taught at the University of California, Berkeley, Rutgers University, and the New School for Social Research. He was the founder of the Gay Alternative and the publisher and editor of the gay and lesbian quarterly Out/Look.
Most helpful customer reviews
19 of 22 people found the following review helpful.
Gay Porn From the Inside
By Larry Lingle
I had a special interest in Jeffrey Escoffier's book as I fairly much by chance started a gay bookstore in Dallas, Texas, in 1974 and rode the wave of the gay porn business for years. While my wave crashed in 2004, after reading Escoffier perhaps I got out at the right time considering the changed market from selling the product in person as opposed to the internet. All the characters that cross his pages are familiar from names on video boxes to friendships with such interesting persons as Richard Lawrence and Drew Onkon (Al Parker) - one story not in his book was told to me by Drew about selling the masters of his Surge Studio films to a certain "business man" in Las Vegas. If I were to point to any omission it would be from the view of the gay retailer such as myself. How my partner and I had to fly out of state for merchandise because of strict state laws, how we had to travel to San Francisco (a great sacrifice I know) to acquire Falcon 8mm films via Le Salon's then owner, and having to use a friend in the military in southern California to pick up videos from William Higgins. But his book does fill in a lot of blanks (such as who was known as the Black Budda) from my perspective.
11 of 12 people found the following review helpful.
Superficial and surprisingly un-sexy history of gay porn
By G. Steirer
Jeffrey Escoffier's Bigger than Life promises a lot. According to the description on the dust jacket, it is at once a survey of gay porn films, a social history of the gay porn industry, an analysis of the cultural politics of AIDS, an account of the evolution of porn as a medium, and an exploration of gay porn in the context of technological change. To its credit, the book does try to offer all these things; but the jumping back and forth between the different modes of analysis results in a disjointed and often superficial work of scholarship.
As an over-aching history of gay porn, this book is something of a failure. The historical account Escoffier offers is oddly both too frenetic and too single minded to do justice to the depth and variety of the porn industry. He offers long, interesting analyses of Andy Warhol's films, for instance, but barely touches on major porn studios like Titan or Colt. Indeed, as far as studios go, Bigger than Life devotes the vast majority of its pages to only one: Falcon. Many other major gay porn studios (such as Bel Ami) are not even mentioned at all. As for technological change, Escoffier provides interesting insights into the shift to video and VCRs, but virtually nothing beyond that. There's no discussion of DVDs or On Demand and only 2 pages addressing the internet (a somewhat shocking omission for a book published in 2009).
As a social or cultural history of gay men and gay sex, Bigger than Life is slightly more successful. Escoffier's accounts of the pedagogical function of porn and the sexual identities it has helped promulgate are insightful. His discussion of AIDS and the use of condoms is also interesting, if a little too abridged. Unfortunately, Bigger than Life has nothing to offer about the changing function of gay porn in the internet era. Anyone born after 1975 will thus find little here that reflects their own experience with pornography. Escoffier also has a habit of citing academic or philosophical work to support his arguments without meaningfully identifying the works' authors and contexts (why on earth is Georges Bataille cited in this book?). This may not bother most readers, but readers approaching this in an academic context will likely be annoyed.
A last complaint, which some readers will find important, is that Bigger than Life lacks illustrations. This is particularly surprising as one would imagine the rights to things like ads and box cover images would have been easy to acquire. There's little in the way of racy anecdotes to make up for the lack of pictures either, which results in a disappointingly un-sexy history of gay porn.
4 of 4 people found the following review helpful.
Enticing Subject, Essential Book! Read It for a Mostly Thorough Survey and History of Gay Porn Films and Video
By Celil Parker
Jeffrey Escoffier's studious survey of the history of male gay (and bisexual) pornography (and of some erotic film of borderline-porno nature, i.e. Canada's own Bruce LaBruce's wonderfully strange and often humourous movies, certain films of Andy Warhol, etc.) is a conscientiously thorough (well, mostly!), albeit not really inspired or exciting study of its subject. The collector should keep in mind that the American editions alike in hardback and paperback bindings, as well as the British paperback edition of the book, all bear the title "Bigger Than Life: the History of Gay Porn Cinema from Beefcake to Hardcore", while the British hardcover edition perhaps bears the same title or perhaps is entitled "All-Male, All of the Time: the Larger-Than-Life History of Gay Porn Cinema", judging from an internally inconsistent listing (of two for the work) for that format edition on the United Kingdom's Amazon site but not from much of any evidence elsewhere. Escoffier covers most of the aspects, producers, and porn stars which are seminally important. I won't add more than a bit beyond that, other U.S. Amazon reviews touching on much of what I also would mention. I just want "to make a plug" for a book that is well worth reading for any gay man or student of erotic pop culture.
There are gaps in Escoffier's book. Obviously, some recently emerging stars (my favourite being Brazil's gorgeously, darkly sexy Dario Beck) have no coverage in this book, but that is an inevitable limitation of book publishing, which fixes data in time, at least from one edition to the next. On the other hand, some genres or types of gay pornographic video come up "missing-in-action". Where is coverage of the "bear" or "chubby chasing" genres? of French and other European porno cinema and video of reasonably wide distribution and hence accessibility? of loner eccentiric masterpieces like "Thundercrack"? of the output of the Bel Ami Studio and other video porn of the popular Eastern European gay scene (and of its achingly beautiful young men)? I also would have liked some attention from Escoffier to the phenomenon of videos that are of unusual length (more quanitity, often, than quality), of four hours, five hours, even ten hours duration. What is the home market for such videos, which seem better intended for circular, non-stop play in gay bars, saunas, or in other such settings?
As for the lack of illustrations, which most private readers, no doubt, who acquire this book would welcome and enjoy, this is not really so surprising for this particular monograph. Escoffier's serious and scholarly approach makes the book suitable not only for the individuals who consume video porn and who who thus buy this book to add to their own informed enjoyment of erotic cinema and video, but also for academic and other public collections, where the presence of erotic visual matter would be unwelcome, due in great part to the level of vandalism and theft that printed documents with sexually explicit illustrations can suffer in such library environments.
I am pleased that while Escoffier pays attention to some of the theoretical aspects of sexuality and of its depiction in erotic cinema or elsewhere, he avoids annoying the reader with unreasonable partisanship on these matters or excessive length devoted to such matters. Most agreeably, he discounts (more mildly than deserved) the fatuous fulminations of that grotesque blimp of a woman, Andrea Dworkin, and her absurdly bloated and self-indulgently spiteful, anti-male conceptions (not limited to the matter of pornography). It is about time that such panderers of hate-filled extreme feminism as Dworkin received the scorn that they deserve! This is a good indicator of Escoffier's level-headedness and sane approach to his subject.
The editing of Escoffier's book is not perfect. There are sentences flawed by dropped or incomplete words, grammatical errors, and by suchlike mistakes. However, they are not so numerous as to become unduly irksome. The chapter bibliographies seem to be of adequate extent and are helpful, the indexing deep enough to provide access for what most readers are likely to seek within it.
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