Naziploitation: The Enduring Pornographic Fetish

What is it about the Nazi’s that have continued to fascinate and enthrall society? Our
obsession with the perverse ideals of Nazism is now manifesting itself as a genre within the
pornography industry - Naziploitation. The heyday of this genre was arguably at its height in
the 1970’s, although Nazism’s popularity within pornography has endured and remains a
favoured subject for both amateurs and professionals within the industry. Although it’s
thought of as a niche fetishism there are hundreds of pages dedicated to it on major online
Pornography sites including the specialized sites, therefore not quite as niche as we would
like to believe. This is clearly not a fetish that is going anywhere! This chapter will aim to
uncover why people seek pleasure in the perversion of Nazism, detailing what it is about this
taboo that resonates on such a level that it has been able to span decades. This will be possible
through tracing the history of the genre and also utilizing theory and interviews with
consumers to seek the true appeal.

For an exhaustive analysis of the Naziploitation genre it is not possible to solely focus on the
material created in the films. To understand all the nuances of the genre we must also look
at the political messages behind the pornography as this media has been used as a reflection
of contemporary politics to the creation of the films. Additionally, it is worthwhile scrutinizing
the actors and actresses who have opted to take part, why they have chosen to accept this
role and what is their connection (if any) to the ideology of Nazism? This will provide a more
rounded view of the genre without falling into stereotypes of the only people that watch this
type of pornography are men with a desire to be dominated and Neo-Nazi’s.

Naziploitation has its origins in the adventure magazines that were aimed at men in the post
war years. Here they could experience the horrors of war from the safety and comfort of their
own home. The magazines featured the defeat of the nefarious Nazi’s and saving the damsel
in distress, they were also frequently highly violent and with a definite sexual element. The
sexual charge of Nazism was also prevalent in Stalags, popular in Israel, they depicted the
horrors of the Holocaust and always featured disturbing sexual elements between prisoner
and guard. Naziploitation did not appear spontaneously in cinemas during the 1970’s, it
seems it was more of a development of different mediums prevalent since the war and as
popularity in entertainment mediums changed, the Nazi’s and their alleged sexual deviance
were thrust onto the big screen.

Naziploitation was noticeably different from the Stalag films that were shown in dark rooms
among friends and featuring full sex.1 Instead, Naziploitation films were shown in cinemas
across America in grindhouse theatres. Albeit small cinemas, the films were released into the
public conscience and any adult individual could pay to see these films within a commercial
setting - thus discerning them as an actual sellable product of the film industry. The 1970’s

1Schaefer, E. (1999). "Bold! Daring! Shocking! True!" : a history of exploitation films,

1919-1959. Durham, Duke University Press. P. 5
were undoubtedly the height of Naziploitation films with the majority and most notorious
films being made during this period, such as ‘Ilsa: She Wolf of the SS’2 and ‘SS Experiment Love
Camp’.3 It is paramount to analyze not only the films themselves but the historical context of
the time they were made in, as this shows not only how the taboo progressed but also how
the reflections it cast on society has altered. The 1970’s may have been the heyday but the
popularity of these films and the perpetuating market for them suggests that the fascination
with Nazism and sex is not going anywhere. Nazism is a prime feature on many of the
pornography websites that litter the internet, as well as having several full length paying
pornography films and a highly devoted following on FETLife.

The 1970’s

If the 1970’s were going to define Naziploitation then there is no other film to do it better
than ‘Ilsa: She Wolf of the SS’ - the film laid the standard of infamy for other Naziploitation
films going further and deeper into the horrors of the Nazi Concentration Camps. This can be
seen through the increasingly graphic and disturbing nature of the other films as the decade
progressed. During the 1970’s over 20 films were made that fit within this genre, and while
none of them were large commercial successes, they have gone down among cult film
enthusiasts and have earnt their high degree of notoriety and fascination.

The breakout success of Ilsa was surprising for a number of reasons as it is not the most
graphic of the Naziploitation films either sexually or in terms of the gruesome experiments
that are shown yet it has still enjoyed the most success. Spawning two sequels, merchandise;
including a doll, and keeping the star Dyanne Thorne as a staple at Comic conventions around
the world. What the film does produce is the essence of the Naziploitation film: gruesome
experiments, a scantily clad Nazi temptress and an All American Man – where it just so
happens that the plot largely revolves around the man’s penis and his ability to never tire and
lose his erection! It is therefore apparent that not only does Naziploitation have to include
gore and sex but it must also have some tongue in cheek humor to succeed. The film can’t be
too serious or the torture too realistic as chiefly it is for erotic stimulation. Viewers do not
want to feel for the characters being tortured, they want simple arousal without concern for
the developed characters fate and as such the fantastical nature of the film must be kept light
hearted. It is this lightheartedness that made Ilsa such a success and that many other
Naziploitation films failed to do - tread the line between horror and comedy.

The plot follows the rudimental of any of the Naziploitation films set within a Concentration
Camp, that there must be torture and sex! Ilsa subjects the women to torturous experiments
in an aim to prove that women are genetically able to withstand more pain than men and
they can be utilized by the Germans to serve the war effort at the front. Her mission for the
Fatherland takes place alongside her quest to find a man who is able to perform sexually all
night and quench her insatiable appetite. The films plot gets lost at points finding it hard to
fit with the near constant torture and sex montages but in the end, as in every Naziploitation
film, the good triumph. The American is able to satisfy Ilsa’s lust and stage a revolt in the
camp, saving the virtuous woman that he has fallen in love with and stopping the Nazi evil.

2 Edmonds, Don. "Ilsa She Wolf of the Ss." USA: Cambist Films, 1975.
3 Garrone, Sergio. "Ss Experiment Love Camp." Italy: 88 Films, 1976.
The camp is ultimately destroyed along with the experiments and even Ilsa herself falls at the
bullet of a German. The camp, the experiments and the idea of women being stronger than
men is too much for even the delinquent minds of the German administration to deal with.
The fantastical nature of the film is paramount and never can it come too close to reality
otherwise this would remove the simplistic joy of watching.

Although we can dip into the world of Nazism and purvey the idea of dominant women and
BDSM the fantasy will always come to an end, we can be safely reassured at the end of the
film that this scenario could never happen. For the fantasy to continue and for you to return
time and time again, you must have that safe word and the triumph of good over evil at the
end of these films allows that; the destruction of the camp is the safe word of Naziploitation.
This relates back to the use of farce within this film in order to present lighthearted relief. If
it gets too shocking or disgusting for the audience they will no longer subscribe to the films,
light relief is needed at various points.

It would be impossible to analyze the film and Naziploitation itself without looking at the
unique persona of the actress Dyanne Thorne and how she came to influence the genre and
become the darling of the Naziploitation scene. Before Thorne was cast as Ilsa she was a little
known actress with small parts in various sexploitation films with some work as a nude model
and showgirl in Vegas. She received little attention until her starring role in the Ilsa franchise,
which has garnered her longevity with fans. The films have received widespread criticism
through their portrayal of Nazism and the conditions within the Concentration Camps and as
such they still carry a ban in numerous countries. This means that purchasing these films can
be highly problematic, an issue that Thorne has overcome by making them readily available
on her own website. To have chosen to involve herself in a film playing a Nazi sex maniac has
garnered several questions for Thorne which she has tried to explain in interviews - she states
that "The original torture scene was not in the original script"4, in a bid to suggest that she
was coerced into the films and never intended to be cast as a devious Nazi, also "I told them
up front I wouldn't do any frontal nudity.”5 This we know is incorrect, as Thorne’s nudity is a
frequent part of the film. From these interviews, what Thorne would have us believe is that
she was sucked into the film and never intended to become the archetypal Nazi mistress.
However, this does not correlate with her continuing promotion of herself and the films.
Further discrediting to her is that she went on to star in another two official and one unofficial
sequels to the film that included much of the same full frontal nudity and torture scenes that
she despaired of with Ilsa.

To view the Naziploitation films from the 1970’s as only a means of titillating entertainment
would be to completely disregard the social commentary that they provide on key issues of
the time. It is no coincidence that the rise of second wave feminism coincides with the
popularization of Naziploitation. A great number of these films commonly have women in
power and they seek to show that when the natural hierarchy is switched, it has disastrous
consequences for humanity and for the men that were once in charge. Ilsa, as we have already

4 Thorne, D. (2011). HCF Interview. Bat. http://209.200.31.169/2016/04/23/hcf-

interview-with-howard-dyanne/, Dyanne Thorne Website.
5 Bozung, Justin. "Dyanne Thorne Interview." http://justinbozung.net/tag/dyanne-

thorne-ilsa-she-wolf-of-the-ss-interview/, December 11 2014.

shown is an example of this. But also films such as ‘La Bestia in Calore’6 an Italian film that
shows heinous sexual experiments of the female Dr. Ellen Kratsch and her torture of prisoners
with a nymphomaniac half man/ half beast or in ‘Nathalie: Escape from Hell’7 in which Helga
a brutal SS guard tortures several women, whipping them to her obvious delight, including
Nathalie a local doctor whose Helga’s old love has fallen for. The power of Helga over this
woman leads to the man emotionally rejecting Helga in favor of the more feminine Nathalie.
It would be easy to overlook the fall of the lead women as merely a surprising coincidence if
it were not a clear theme present in the majority of films and if the issue of female autonomy
was not a highly charged contemporary issue. However, previous scholars have shown that
exploitation films were not made into a vacuum; they were a way in which film makers could
cast judgements on the morals and happening of the time and Naziploitations judgement was
on feminism. 8

This suppression of the new feminist agenda is not merely shown through placing the
feminine in a superior position and watching the havoc and destruction that this creates. It is
also present in the many instances of castration present within these films.9 There can be no
clearer symbol of the switching of power and upset of the natural order than through
castration. Women as the oppressed can gain power with the removal of the phallus, as Freud
would have us understand, Phallus is not masculinity - it is power, the Phallus holds the power
leaving women wanting it because without the penis they are not whole.10 In Naziploitation
films the woman are not only subjugating the natural hierarchy, they are taking the very
essence of power, as an aggressor to the man. With the removal of the penis by force they
have physically and mentally stripped the masculine of his power. The ideas that lurk beneath
the surface of the pictures make this film less about sexual fascination with the ideas of
dominating women and Masochism, but rather a more worrying treatise on the idea of
Feminism and the emancipation of women’s rights. These subliminal messages concealed in
the film may also explain why there was a decline in Naziploitation popularity and production
towards the end of the 1970s as the social issues that were at the forefront of American life
began to change and as women firmly stood their ground new worries took their places within
exploitation films a new setting could be found for these social constructs.

The Naziploitation genre within the 1970’s has been overlooked for two main reasons; as far
as studies of pornography – as it cannot fit neatly within this category as no full penetrative
sex is shown instead, it is arguably soft-porn. Also, the genre does not offer an artistic
representation of the horrors of the camps as it never aims to stay to the true facts of the
Nazi system of oppression. It is however, worthwhile to begin with Naziploitation as a
beginner step in aiming to chart the continuing use of Nazi’s within pornography as a whole.
This is where the first Nazi porn starlet was borne with Dyanne Thorne and where a large

6 Batzella, Luigi. "La Bestia in Calore." Italy: Eterna Film, 1977.

7 Payet, Alain. "Nathalie: Escape from Hell." USA: Cinefear, 1978.
8 A.Brown, Christopher. The Video Nasties Moment: Examining the Films Behind the

Scene. Milton Keynes: Video Nasties Podcast, 2014.

9 Campbell, Jan. Arguing with the Phallus : Feminist, Queer, and Postcolonial Theory

: A Psychoanalytic Contribution. London: Zed, 2000.

10 Brooks, Carellin. Every Inch a Woman : Phallic Possession, Femininity, and the

Text. Vancouver: UBC Press, 2006.

percentage of the notoriety of Nazi pornography stems. What is most curious about the genre
is that it is now thought of as little more than cult film. It is not unusual for people to have
heard or seen Ilsa and thought little of it, but if you were to ask if Nazism as a fetish or a belief
is an area they prescribe to you would be greeted with shock and horror. Is it the historical
setting of the films in the 1970’s where we can laugh at the outdated filming, fashion or pubic
hairstyles that make it easier for us to shy away from the fact that we are actually consuming
a sexual parody of the Concentration Camps and Holocaust?

Present Day

The genre of Naziploitation films as previously discussed saw a distinct decrease in production
with the close of the 1970’s, this did not however spell the end for Nazism within adult
pictures. Instead, the 1980’s heralded a genre change, with Nazis as a theme firmly
establishing itself within Hardcore pornography. The change in specification can be perceived
in the films of the 1980’s starring Seka where, although a rudimental storyline is present, the
films primary focus is on the screening of full intercourse between characters. The genre
continues to grow and be shaped through the continuing changes within the industry - there
is now a wealth of amateur Nazi themed porn on popular internet sites such as Porn Hub 11
reflecting the tastes of viewers as well as continuing productions of feature films. The
continuing production of both amateur and professional pornography within the genre
accentuates that the subject continues to fascinate and enthrall viewers. The development of
Nazism to reflect the idiosyncratic notion of Celebrity Culture; creating women that embody
not only the forbidden fetish but also to use their sexuality to embody the face of Nazism
itself within a modern day environment.

The 1980’s began a new phase in the role of Nazi’s within adult entertainment, gone were
the lighthearted relief present within the Naziploitation films of the 1970’s. Although the plot
lines followed very similar patterns, For example in ‘Prisoner of Paradise’(1980)12 (the first of
these new breed of adult entertainment films) the plot is highly thematic of Ilsa, with a
stranded American officer coming to the aid of two nurses being held prisoner by a Nazi
officer and his sadistic female helpers. The narrative follows the same lines of torture but now
features penetrative sex and the ending follows suit providing a comforting victory for the
good Americans over their Nazi foes. The changes that have been made are not due to
consumer’s boredom with the Nazis and their draconian punishments, it is rather the sexual
element of the films that have had to be heightened to retain interest. The films can no longer
be watched as B movie fun; their cult status is now removed. It is no longer possible just to
watch and laugh at the bad special effects and terrible plot. The key difference being the
desire to view this material is an active choice to watch pornographic material based on
Nazism. It is no longer that this is just a comic gaff, these films are now placing Nazism within
a sexualized realm and recalibrating their actions in a way that is sexually stimulating. The
graphic pornographic nature of these films is now a constant and to be expected when
watching these films.

11 PornHub. "Nazi Search." PornHUb,

http://www.pornhub.com/video/search?search=nazi.
12 Chinn, Gail Palmer & Bob. "Prisoner of Paradise." USA: Wonderful World of Films,

1980.
To understand the fascination that has caused the merge between the brutality of Nazism
and sexual excitement it is of importance to analyze the elements of the regime that have
been procured to turn Concentration Camps and their officers into sexualized spaces. As time
has progressed the utilization of Nazism within pornography has been specifically
concentrated to the sub-genre of BDSM. It is within BDSM productions that the conception
of the Concentration Camps and the draconian punishments being meted out, such as
flagellation and torture, have become intricately linked. The methods of punishment and
arousal through violence used within BDSM have found a welcoming stage on which to play
out through the use of the Nazi period. The Third Reich offers a definitive time and space on
which imagination can be layered onto fact. The use of whipping as a punishment for
transgressions within Concentration Camps is a fact, as are the heinous medical experiments
carried out by doctors such as Joseph Mengle.13

The presence of some truth in the scenes that are depicted requires a less significant leap for
viewers to place themselves as either Guard or Prisoner and although the factual content has
been warped and embellished to suit the needs of the creator; women were never tortured
with an electrified dildo nor were the Nazi guards naked whilst whipping the prisoners, it still
has a definitive historical basis. The settings and ideas that are displayed within the film are
already registered within society’s conscious as actually occurring. To therefore build upon
these facts and develop them into a wider story is easier than to have someone whipped in a
bland room, adding another dimension of truth, promoting an easier interaction for the
viewer. Porn is chiefly about fantasy, to explore the ideas and sexual desires that people
cannot carry out at home, either because society frowns upon it or they do not have the
means. BDSM is one of the most derived fetishes due to the physical nature and lack of wider
knowledge and as such it is an area which few may get to explore, due to a lack of means or
fear of rejection. By placing the actions within Nazi Concentration Camps it allows the viewer
to place these fantasies in a real time and place, making it easier for them to visualize
themselves in either role. Though BDSM has faced a large stigma, it is a perfectly natural and
reasonable way of gaining pleasure. What may be harder for those who are not interested in
BDSM to understand is why this has been coagulated into a system of brutality and terror that
claimed the lives of millions thus raising moral questions about the sanctity of Nazi
Pornography; does its use within adult entertainment pose a moral problem due to the
heinous crimes perpetrated by the Nazi’s?

Full length pornographic films featuring Nazis have now split into two categories, those
returning to the cultish B movie status of soft core pornography and those that maintain a
strict BDSM and hardcore fetishism of the subject. A Norwegian release in 2014 ‘Gisela Blut
Und Leder’14 has exemplified the nostalgia invoked with the genre; no longer is there full
penetrative sex or the brutal whipping that had previously become a feature, instead the film

13 Mengle experiments are detailed in a wide number of the histories of the Holocaust and
specific camps such as Feig, Konnilyn G. Hitlers Death Camps; the Sanity of Madness.
New York: Holmes & Meier Publishers, 1979. And Hilberg, Raul. "The Nature of the
Process." In Survivors, Victims, and Perpetrators : Essays on the Nazi Holocaust,
edited by Joel E. Dimsdale. Washington: Hemisphere Pub. Corp., 1980.
14 Skogstad, Gaute Lo & Frank Robert. "Gisela Blut Und Leder." 2014.
is rather tongue in cheek. The film focuses on titillating the viewer but also has the constraints
of a plot. The film utilizes the old ideas of Naziploitation aiming to suggest sex but does not
fully portray. The subject matter and the obvious exploitation credentials of the film indicate
that it will never be a major release due to its position of being too close to the line of
pornography. On the other hand it offers what the other films do not, light relief. This is not
a film aimed solely at those that are sexually excited by torture and Nazism but aims to still
work as a motion picture. It is additionally consequential at this point to mention the trailer
by Rob Zombie ‘Werewolf Women of the SS’, although the film was never made, it shows the
cult status that the Naziploitation films of the 1970’s enjoyed and conveys their enduring
popularity. The trailer shows the influence that these films experienced within the horror
genre specifically and that they are still used as inspiration, furthermore it exemplifies the
great interest and fascination that the genre evokes. Naziploitation itself may have ended but
it continues to influence film makers within the present day as the fascination with Nazism
and its sexual deviance lives on within popular culture and society’s conscience.

The revival of interest in Nazism in mainstream cinematography has been paralleled with an
increase in popularity in full length pornography films on the subject. The inclusion of the
sexuality of Nazi’s within commercial films has lead to soft core representations of sexual
intercourse with Nazi’s e.g. ‘The Reader’ has led to a reflection of popularity within the
pornography genre. This has allowed a gateway into the wider angles of Nazism as a fetish.
The presence of Nazi’s and their sexualisation in mainstream film has lent a legitimacy to Nazi
pornography as a genre. If these softcore pornographic films offer a way into the fetishism of
Nazism, it is to the soft outer edges only, as filmmakers dabble with the taboo they are able
to push boundaries without fully entering into the world of BDSM and torture. It appears that
the need for light relief has come around again within the world of Naziploitation.

This is not universal for all the films being produced by professional pornographers as Nazi
pornography is still chiefly involved in the less vanilla fetishes, with it playing a key role in
many BDSM films. One of the major producers of Nazi pornography is Mood Pictures based
in Hungary. Within the last three years they have produced at least three feature films
centered on the Concentration Camps and Nazi torture.15 These films which are still being
produced to commercial success are what drives the narrative when discussing contemporary
Nazi Pornography. The films rely on scenes of bondage and torture to entertain viewers with
frequent whipping scenes, which are not for the faint hearted, including blood and severe
damage to the skin. The films that are produced are highly violent and explicit, although it is
rare that they include full penetrative sex, arousal instead comes from the violence and
torture shown. It is apparent that Nazi Pornography in its current form is used to go beyond
just BDSM as a fetish and enter into shock pornography and brutalization. The horror of
Nazism is anew, being used to push the boundaries of what society finds acceptable to screen
and where our level of taste now lies. Although some may react with pleasures to these films
it appears that to most they go beyond all expectations of pornography. These films are
arguably pushing the same boundaries that the Naziploitation films of the 1970’s did,
although as society has grown more liberal the boundaries have grown wider. The use of

15 Pablo. "Dr Mengle." Mood Pictures, 2008. And Pablo. "Gestapo 2." Mood Pictures,
2015.
Nazi’s within Porn seem to always be on the very limits of societies perceived conscious, used
to provoke outrage and shock even the most liberal minded.

As the Porn Industry has transmuted into largely an online medium, so too has the face of
Nazism within films changed. The genre has managed to follow the trend and videos of Nazi
themed porn are readily available on popular non fetish specific porn sites. Completing an
expeditious search on the Porn Hub website there were over 50 videos found, whilst ixxx had
over 100 videos dedicated to Nazism as a fetish. This denotes a distinct change in the behavior
that compromises the videos. Compared to commercial pornography being produced
amateur porn is a lot more conventional and while BDSM is still featured this is of a much
more docile variety, it also includes full penetration and the sexual activity is prevalent. Where
the commercial features aim to push boundaries to be considered at the forefront of the
shock and torture industry, amateur pornography is focused instead on mutual pleasure and
satisfaction from the encounter. The lack of torture translates Nazism to a greater focus on
uniform and roleplaying within the films, there is a lot more focus on the roles with a clear
dominant and submissive. The focus on uniform is to such an extent that there is a specialized
niche of pin up models and cam girls whose focus is purely on wearing replica, sexy uniforms.
That this is translated into amateur porn shows a continuing fascination with Nazism and the
allure of the darkest period in modern history. The amateur porn is representative that the
sexual fascination with Nazism is not just a feature of the porn industry but that wider society
are interacting with this fetish and translating it into their own sex lives.

Analysis of these films through academic study can look behind the imagery and try to
understand the popularity of these films, to truly gain that insight, interaction with the
consumers of Nazi Pornography is necessary to establish the nuances of their enjoyment. For
a glimpse into the world of Naziploitation, I conducted a survey on FETLife, a popular chat
forum for those interested in BDSM and other taboo’s that polite society has shunned. My
focus was to garner information on what drew people to the genre, how they interacted with
Nazism and the type of Pornography that they had interacted with in pursuit of the fetish. Of
those surveyed only 5% had any interest or connection with the ideology of Nazism,

“Simply I think that they are hot without clothes and also because they are very beautiful
and evil. I love to see how a woman guard tortures a Jewish”16

The acute number of respondents who were personally interested and believed in the Nazi
ideology and either denied or supported the Holocaust was marginal. This disproved my
hypothesis going into the survey that those who were interested in Nazism and the Far right
would be those who particularly valued the Naziploitation genre. I believed that this would
be due to their relation with the torture of the same groups as they see as threatening and
also as the glorification of Nazism. The disproval of my hypothesis led me to widen my search
and uncover what Neo-Nazis and the Far right think about Naziploitation films.

By accessing forums that were devoted to the Far right and their ideology, particularly
Stormfront the largest forum for those of White Nationalist pride and through searches it was
possible to glean an insight into how they regard Naziploitation and Porn stars themselves.

16 All respondants have been given anonymity, This was participant 12.
The most famous of the Naziploitation films, ‘Ilsa: She Wolf of the SS’ is barely mentioned, but
it still manages to divide opinions. With some seeing it as a harmless B Movie and others
casting it in a much more dangerous light of being Jewish Propaganda. Although some may
be able to ignore the B- Movies, the tone is much more hardline when it comes to women
who are involved with White Nationalism and Pornography. There are two notable examples
of this: Wendy Iwanwow, (known professionally as Bianca Trump and on the forums as
tattoogirl1488) and Michelle ‘Bombshell’ McGee, (a Pornstar famous for her affair with Jesse
James and fetish modeling and tattoos) - the two hold different places within the movement.
Iwanwow was actively involved within White Nationalism and Stormfront giving tattoos to
members including Celtic Crosses and Swastikas after renouncing her previous porn career to
play a part in the movement. However, after her arrest for fraud and her previous
employment came to light, she received huge backlash. Not only was her heritage taken into
account with many questioning her ethnicity, she was also labelled a race traitor for
previously performing sex acts with other ethnicities. The case for Mcgee was slightly
different, she only entered the White Nationalist radar after her affair with Jesse James
became a media sensation. It was then that her Nazi fetish pictures, and her tattoos
symbolizing White Pride became headline news. Her position as a single mother with a child
by a Jewish man garnered her the title of Race traitor and the way in which she used symbols
of Nazism as a means to reap media attention put her down as a “disgrace to the White
Nation”. The explanation for this disenchantment with Pornography is clearly focused on race
but goes back to a deeper value of White Nationalism and the value placed upon the home
and role as women as mothers not whores. It can be summed up from another quote which
features on this thread of pornography, “Like Whites need to be connected to Porno Sluts to
get more bad attention”17. It is not in terms that they do not find this woman attractive, but
it is her lifestyle and Nazism as sex that is not in line with the messages they promote as the
White Nationalist cause. To try and maintain a community image there can be no involvement
with women of this kind.

The results of the survey were illustrative that the main appeal of Nazi Pornography comes
through power dynamics rather than being specifically linked to ideology as many would
believe. The thrill of Naziploitation comes through control and the sexualized role of prisoner
and guard. This is reflective of the earlier ideas of why Nazi’s are put into porn originally. It is
rather a background or a scene upon which to build fantasies and ideas of roleplay. The BDSM
scene on sites such as FETLife are often centered around one participant relinquishing power
to another and this is particularly true of the genre. For over 70% of those surveyed the allure
of ultimate power is what had drawn and kept them interested in exploring Nazism in a sexual
setting. This role playing was largely started through an interaction with history which had
developed into a pornography representative of World War Two which is found within these
films. As Participant 4 replied “a lot of fetishes I have are linked in some way to either a fear
element or a power imbalance”. This sentiment is echoed by a large proportion of the
participants. This use of power as a dynamic creates a different interpretation of
Naziploitation; if the genre is not specifically linked to the ideology can it therefore be a
harmless way for people to interact with their sexual curiosities or is the historical bias too
much to overcome?

17 fsolution. "Tattoogirl1488." https://www.stormfront.org/forum/t99316-3/.

The other key feature of the fetish that is mentioned time and again is the particular
attractiveness of uniforms, the Nazi uniform; especially the Death Head units are instantly
recognizable. It is this which has caused them to become such a prevalent form of imagery
within the films. Even if the uniform may not be entirely factually correct, the black and red
colours triggers within the mind the horrors of Nazism, continuing a path along the
subconscious, of power and complete subservience that would be expected under Nazi rule.
The use of uniforms is not specific within Naziploitation and is a defining feature of many
other fetishes. It is however directly related to power relations and the ideas of dominance
and submission. Uniforms are a simplistic way for the mind to compute the situation and the
characteristics that each person has taken on within role play. Specific to Nazism it allows the
clear markings of Prisoner and Guard or Victim and Aggressor and this can relate to both Film
and Play. Uniforms are also a way to firmly establish the historiography and increase mental
participation within the film. On the film sets within the Pornography industry which can be
of very low budget, a white room can be used as a setting for many different films, it is the
props and characters that allow the scenario to be built upon. The use of uniforms
immediately communicates the setting of the film to the viewer whilst keeping costs for the
film makers down. For the director and producer, the budget constraints and profit are the
most vital considerations during production and uniforms can alleviate the stress of complex
sets. Porn films are not aiming to be complex and expensive, they are meant to arouse and
titillate. They are not aimed at highbrow scholars with an intricate view of the Third Reich and
Holocaust, the films should be quickly understandable and uniforms can readily establish this.

After the decrease in popularity of Naziploitation films, Nazi pornography adapted to

consumer needs and as such has entered the world of hard core pornography. Moving with
the changes it now depicts full penetrative sex and is increasingly focused to a hard BDSM
genre. These changes are able to show that it is not Nazi’s within pornography that led to the
decline of the Naziploitation film but rather that society grew to be less shocked by the films
contents so the Pornography industry had to develop the stories and grow more shocking.
This led to the development of a fetish that was centered on BDSM with Nazism being used
as a plot device to expand the fantasy for those engaging. Although the ideology appeals to a
minority of viewers of the genre, it is clear from interaction of those that engage with the
genre and also with the proponents of Nazism and the Far right, that neither the ideology or
those watching are grouped within the genre of film. Nazi Pornography will not lead to an
expose on the Far Right and contemporary Nazism in politics. Instead it can be used a
reflection of how the BDSM scene has developed and the repeated use of uniforms and
historical truth as a means of interacting with fetishism. The chief characteristic of Nazi
Pornography that has been used time and again is how it pushes the genre forwards and
makes society question what is sex, Naziploitation constantly seeks to live on the parameters
of pornography.

Conclusion

The aim of this paper was to discover the reasoning behind the continued popularity of Nazi
Pornography, this was not simply answered as Nazi Pornography has split into several
categories and is now used as a means to encompass many different fetishes and for many
different purposes. Chiefly, what also must be recognized is that it is not only within
Pornography that it seems society is unable to give up Nazi’s but, within wider popular culture
as well. There is a continual montage of films, books, TV series and any form of media that
constantly uses and reinvents the Nazi’s for their own purposes. The Nazi’s have become the
perpetual bad guys and as such the pornography industry is only one such medium to use
them in this manner. What the Nazi’s offer to all mediums is the eternal wickedness, as there
is no need to justify the actions of the character because just by being a Nazi, we instantly
recognize that he is evil. This is used by the Pornography industry to immediately share
information with the viewer.

The Naziploitation films of the 1970’s were deeply embedded with subconscious meanings
and opinions, the films sole role was not just to entertain but also to educate the viewer with
important political and ideological thoughts. The genre was chiefly concerned with the rise
of feminism and how this would affect patriarchal roles within society thus choosing to
represent women in power within roles that attempt to destroy humanity. They aim to give
a clear moral judgement on women in power. This political motivation in featuring Nazis
within Pornography seems to have vanished as Nazis crossed over the line from Exploitation
film into Pornography, it therefore seems that although they may continue to push
boundaries within the ideas of Nazis in porn it is now less about ideological and political
concerns and now more about the taboo. For a continuing look at how exploitation films
showed societies ill would be to trace the exploitation genre rather than follow the
development of Nazi Pornography.

There is some correlation though between the infamies that is awarded to the women who
seek to get involved themselves as starlets of the Nazi scene. This can be seen through Dyanne
Thorne who made a career out of Ilsa and has lived off the notoriety and benefits since. It
appears that once you have entered into the realms of Nazi Pornography there is little way
out. This is a position that many of the female stars of the 1970s found themselves in with
their career hopes having to revolve constantly around the one genre. It is also true of those
that are linked with the genre today. McGee has been unable to shake her ties to the far right
and Nazism after posing in several Nazi inspired pin up shoots and has also faced controversy
over her tattoos. Another adult star now linked to the far right is Tila Tequila who continues
to promote her beliefs in White Nationalism even though she is unacceptable by their
standards. The difference between these stars is the inferred belief that to work within Nazi
Pornography and involve yourself in these shoots you must be ideologically linked to the
ideals of Nazism. This is a development as years have gone on, and was not a prevalent theme
in the 1970’s. This may have been due to the new rise of the far right and an increasing fear
of its popularity.

What has clearly developed within the genre is the explicit nature of the films and also the
graphic violence that is now being shown. There is a clear development of the torture scenes
starting with the quite obviously faked and farcical, to the torturous and deeply disturbing
flagellation scenes. The pornography now being produced is catering to a very specific fetish
that is about the bodily harm of young women for the arousal of pleasure. The experiments
are no longer ludicrous and there is certainly no light entertainment, unless you are aroused
by severe torture then these films no longer make for easy laughable viewing. The films are
no longer about enduring cult image, they are about sexual torture. It is interesting that the
scenes which are now being portrayed hold more truth than the previous films but they also
offer a stronger sense of perversion. That the true crimes of Nazis are being portrayed in a
manner for people to be sexually excited by raises severe moral questions about the use of
our history within pornography. It also raises questions of legitimacy by portraying these
crimes commercially and as a means of arousal is it thereby legitimizing the acts of the Nazis
- if we can be excited by this does it make it alright and should the past be used in this
manner? However, what is clear is that the boundaries are still being pushed.

The films find common ground on their usage of Nazi history to create a scene upon which to
build and it is taken for granted that the viewer automatically knows what they are about to
be watching, that there will be experiments, that there will be gore and death because
ultimately everybody relates Nazism with perversion and evil. This makes it easier for
pornography to go to the basest of desires and violence as to watch Nazi pornography is to
view these things. This is also true of the Naziploitation films, though to present day viewers
they may seem like little more than low budget horror films, at the time they were widely
banned and condemned. They again pushed the boundaries of what was acceptable viewing
in terms of violence and sexual content. It is therefore apparent that Nazism and the actions
within the Concentration Camps are frequently used by film makers to continue pushing and
testing where society’s moral line is. How far can the film go without gaining a ban, how far
before no one will watch the films? Where is the line that cannot be crossed? As society has
grown more liberal this line continues to recede, in thirty years alone we have gone from film
such as Ilsa where no full penetrative sex is shown and carried bans in numerous countries to
the full penetrative sex and torture porn being readily available and perfectly legal through a
quick internet search. The clear link throughout Nazi Pornography though is that within this
setting the true horrors of humanity can be shown and in a setting where the parameters of
human behavior no longer exist.

Bibliography

Films

Batzella, Luigi. "La Bestia in Calore." Italy: Eterna Film, 1977.

Chinn, Gail Palmer & Bob. "Prisoner of Paradise." USA: Wonderful World of Films,
1980.
Dietritch, Erwin C. "Frauelins in Uniform." USA: Cheezy Flicks, 1978.
Edmonds, Don. "Ilsa She Wolf of the Ss." USA: Cambist Films, 1975.
Garrone, Sergio. "SS Experiment Love Camp." Italy: 88 Films, 1976.
Pablo. "Dr Mengle." Mood Pictures, 2008.
Pablo. "Gestapo 2." Mood Pictures, 2015.
Payet, Alain. "Nathalie: Escape from Hell." USA: Cinefear, 1978.
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Skogstad, Gaute Lo & Frank Robert. "Gisela Blut Und Leder." 2014.

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thorne-ilsa-she-wolf-of-the-ss-interview/, December 11 2014.
fsolution. "Tattoogirl1488." https://www.stormfront.org/forum/t99316-3/.
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