What is CUMSHOT?
A cum shot (sometimes spelled cumshot), pop shot, or money shot is the record (on film or video or, less frequently, in some versions of glamour photography) of a man ejaculating, usually onto a person or object. It is typically the cinematographer's indication, within the narrative framework of a pornographic film, that the sexual act recorded has concluded.
Some feminist critics have argued that the depiction of cum shots are an expression of misogyny, male domination and objectification of women. Feminist writer Susan Faludi argues that pornography scenes depicting women performing oral sex on men objectify the male performer, in that the male performer's entire body, except for the erect penis, is off-camera In contrast, sexologist Peter Sándor Gardos argues that the men who enjoy viewing these scenes are the men "who have positive attitudes toward women."
Pornography and erotica without "cum shots"
Two exceptions to this expectation are softcore pornography, in which penetration is not explicitly shown and "couples erotica", which may involve penetration but is typically filmed in a more discreet manner intended to be romantic or educational rather than graphic. Softcore pornography that does not contain ejaculation sequences is produced both to respond to a demand by some consumers for less-explicit pornographic material, and to comply with government regulations or cable company rules that may disallow depictions of ejaculation. Cum shots technically do not appear in "girl-girl" scenes as far as the expulsion of semen goes, and orgasm can normally only be implied by moaning and body movement. Although lesbian porn may not show the expulsion of semen, female ejaculation may be present.
It is common for a fellatio scene in pornography to end with the actor ejaculating onto the actress's face. Some have interpreted that as an expression of misogyny, male domination and objectification of women. For example, in Padraig McGrath's review of Laurence O'Toole's book Pornocopia – Porn, Sex, Technology and Desire, he rhetorically asks whether "...women enjoy having men ejaculate on their faces?" He suggests that the role of a "cum shot" scene such as this is to suggest that "...it doesn’t matter what the woman likes – she’ll like whatever the man wants her to like because she has no inner life of her own, in turn because she’s not a real person." McGrath argues that there is a "power-aspect" to depictions such as "come shots." He alleges that the "...central theme [of pornography] is power...[,] implicitly violent...eroticized hatred."
Another critic of "come shot" scenes in pornography is the US porn star-turned writer, director and producer Candida Royalle. She produced pornography films aimed at women and their partners that avoid the "misogynous predictability" and depiction of sex in "...as grotesque and graphic [a way] as possible." Royalle also criticizes the male-centredness of the typical pornography film, in which scenes end when the male actor ejaculates. Royalle’s films are not “goal oriented” towards a final "come shot"; instead, her films depict sexual activity within the broader context of women's emotional and social lives
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