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Gay male pornography and the re/de/construction of postcolonial queer identity in Mexico

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Since colonial times, the figuration of the Latin(o) male homosexual has been highly exoticized and troped in western media accounts (Shohat and Stam 1994; Ramirez Berg 2002), as they are depicted as hypermasculine figures whose raw sexuality functions as an unquestionable sign of their inner primal machismo. This view on male (homo)sexuality has been further reinforced through the kind of images of Latin(o) men that have been presented in male gay pornography. Such stereotyped representations of male (homo)sexuality have permeated into a global, socio-sexual imaginary that persists in placing such men within a sexual and erotic order in which their bodies convey an extreme form of primal sexuality. As a result, the emergence of national gay pornographic industry(ies) in Mexico has resulted in a re-evaluation of the social and sexual notions commonly associated with male (homo)sexuality. The mestizo (mixed race) gay man is both deconstructed from his positions of sexual subordination (differently from submission) to a white subject (even when such coloured individuals take the active role during sex) and reconstructed in a new space of libidinal economy. This article offers an analysis of the role that national gay pornography has played in shaping Mexican gay men's perception of their own sexuality taking as a point of departure their own national and ethnic background. The research will focus on a number of films made by Mecos Films and Eros Digital in Mexico, and demonstrate that such films have challenged notions of gender and sexual universalism, and instead offer new alternatives for the production and execution of desire amongst coloured men.
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Keywords: Mexican homosexuality; coloured men; gay pornography; mestizo identity; mexicanidad

Document Type: Research Article

Affiliations: Coventry University.

Publication date: November 1, 2010

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  • The journal aims to provide a platform for the study of new forms of cinematic practice and fresh approaches to cinemas hitherto neglected in western scholarship. It particularly welcomes scholarship that does not take existing paradigms and theoretical conceptualisations as given; rather, it anticipates submissions that are refreshing in approach and exhibit a willingness to tackle cinematic practices that are still in the process of development into something new.
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