Ethnic Pornography

Productions can feature any type of ethnic group, however the most commonly marketed ethnic genres involve Asian women, Latino women, and black women, most often paired with white men.

The most prevalent form of ethnic pornography is that which involves Asian females. According to Christopher Mcgahan, pornographic websites depicting Asian female actresses outnumber almost all other forms of hardcore pornography. Websites explicitly depicting Latina or black women are also commonly found, however ethnic pornography featuring white women tends to be more obscure and found within the ambiguous "interracial" category; few websites mark "white" as a distinct racial category.

According to a 2019 study published in Archives of Sexual Behavior, the most common form of interracial pornography involves white men paired with either Asian, Latina, or black women. In terms of "most watched" videos, the most common form was white men with Latina women. Interracial videos involving black and white individuals were equally distributed across gender pairings, at 15.1%. White women were present in 37.2% of all videos (including non-interracial pornography), while white male actors were present in 55.2% of all videos.

 

Interracial pornography features performers of differing racial and ethnic backgrounds and often employs ethnic and racial stereotypes in its depiction of performers.

American stag films dated to the 1930s depict acts between black and white performers: Di Lauro and Rabin point to The Handy Man, The Hypnotist, and A Stiff Game, the last of which identifies its only male character as "Sambo".

Behind the Green Door (1972) was one of the first pornographic films to feature sex between a white actress (Marilyn Chambers) and a black actor (Johnnie Keyes).

In the past, some of American pornography's white actresses were allegedly warned to avoid African American males, both on-screen and in their personal lives. One rationale was the purportedly widespread belief that appearing in interracial pornography would ruin a white performer's career, although some observers have said that there is no evidence that this is true. Adult Video News critic Sheldon Ranz wrote in 1997 that:

We keep hearing a lot about "the powers that be" that tell white women that it's not in their "interest" to work with blacks. Is there any proof that Ginger's scene with Tony El-Lay in Undressed Rehearsal hurt her career? Nina Hartley still gets lots of bookings in Southern strip clubs, especially Texas, even though she is an avowed interracialist.

Lexington Steele told The Root in a 2013 interview that white female performers who appear in interracial pornography may conceal their careers due to social pressure from their intimates. According to a survey by Jon Millward, while 87% of porn actresses are willing to take a facial, only 53% will do interracial porn.

Alleged role of agents

Sophie Dee, prominent figure of the genre, said in a 2010 interview that she thought agents often pressure white female performers not to appear in interracial pornography. Dee said that they will be paid better for performing with black men and their careers will not be damaged in any way, pointing at positive examples of some Vivid Entertainment actresses.

Aurora Snow noted in a 2013 article that the major factor preventing several white actresses from doing interracial scenes is "career anxiety" imposed by agents rather than their own racial bias. Tee Reel, male porn star and one of the few black agents in the U.S. industry, had a concurring opinion, saying, "In the business, some girls who say they don't do interracial, I've actually had sex with, off-camera." Porn star Kristina Rose has alleged that some agents tell younger actresses that they will earn less from performing in interracial pornography to bar their involvement, although the opposite is true on a global level.

 

In Chapter 3 of her book Porn Studies, Linda Williams, professor at the University of California, Berkeley, examines the film Crossing the Color Line starring Sean Michaels, a black actor, and Christi Lake, a white actress.^: 273 In the interviews portion of the film, Michaels and Lake express how being "color-blind" is a progressive approach to interracial porn.^: 273 Williams identifies a contradiction between these interviews and the subsequent performance, in which both actors make several references to the differences in skin color between them.^{: 273–277} For example, Lake refers to Michaels' genitalia as a "big black dick".^: 274 Williams argues that by pointing out racial differences, race is being made the main point of intrigue for the audience, which perpetuates the exotification of racial differences.^{: 275–276} She argues that the eroticized sexual tension in interracial pornography dates back in American history to slavery.^: 271

Mireille Miller-Young, professor of feminist studies at University of California, Santa Barbara, argues that while the porn industry hypersexualizes African-American pornographic actresses, they are often paid less, hired less, and given less attention during health checks than their white counterparts.

• Asian fetish
• Cuckold fetish
• Miscegenation
• Misogynoir
• Pornography by region
• Racial fetishism