copyright 2005 by Pat Powers
I feel a new set of rules for mainstream filmmakers who attempt bondage scenes coming on, and instead of working in private for weeks and then publishing them, I'm going to write them up one or two at a time and publish them here, where they can't get away.
The Fictional Scene Rules proceed from the following principles:
There are exceptions to all of these principles, which we'll cover as we develop the rules.
Rule 1: Gags -- Unless a damsel's mouth is in use -- talking, licking, kissing or whatever -- she should be gagged.
Gagging enormously increases the drama of a DiD scenario -- it says the villain does not care to hear what the damsel has to say. It also has the effect of powerfully reinforcing the bondage imagery in the scene every time the damsel's face is seen.
This is not to say all damsels should be gagged all the time. Sometimes it's important for the damsel to talk. In consensual bondage scenes, a damsel's mouth is often very importantly engaged.
It's also often useful to have at least a few shots of an ungagged damsel to establish her facial beauty. By all means, get some establishing shots of her ungagged. But when the time comes, by all means gag her. And as soon as a damsel has finished speaking or eating or whatever, or in a consensual scene, as soon as a damsel is no longer in a position to use her mouth effectively (say, doggie-style sex, just for example) she should be re-gagged.
This can be troublesome if tape gags are used, but very easy if cleave gags, ball gags harness gags or bit gags are used. Cleaves and ball gags can be pulled out and left hanging around the neck while the damsel talks or whatever, then simply replaced when she's through. Harness gags and bit gags can simply be unbuckled and rebuckled, also left dangling from the damsel while not in use.
Failure to gag or re-gag a damsel constitutes the most common mistake in dramatically handling DiD scenes and consensual scenes, despite the fact that it is offers great payoffs in both types of scenes.
(In fact, this rule is frequently broken even in commercial bondage videos and photos, despite the fact that the audience for these videos overwhelmingly favors gags. The failure of commercial bondage imagery creators to gag their models at every opportunity is almost mind-boggling, but the evidence is there for anyone who has seen them.)
In the case of dramatic mainstream scenes, the damsel had already had the experience of wearing the gag, feeling totally helpless, for much longer than she liked -- if she liked it at all. Now the gag is being forced into her mouth again and this time she knows what it's like to wear it. Maybe she pleads, maybe she cries, maybe she steels herself to accept it. It's all good drama.
In the case of consensual scenes, there's nothing like a woman accepting a ball gag, a knotted cleave gag or better yet a cock gag (though that has yet to be seen outside commercial bondage images) into her mouth with a gleam of pleasure in her eye and a smile on her lips. It's a powerful visual metaphor for the pleasure she experiences in having a body orifice filled by her lover. Or perhaps she is pouty but willing, or perhaps she is literally champing at the bit gag. It's all sexy.
In the case of a comic scene, the only rule is that the gag work for the scene. A mouth-filling apple gag or a gag made out of some unlikely substance, like a wig, though inappropriate for other kinds of scenes, works if it's funny.
The key is that at all times the gag must serve the dramatic purposes of the scene.