Let us now consider this clip, found at various locations on the web, but here in its most complete form at DrTuber as “German Girl Eats Jizz Pie“ and at YouJizz. It is a couples clip, in which two people fuck. It takes place at the girl’s apartment and tells the story from before they meet to the aftermath.
I’ve seen the clip in shortened form at a couple locations. The clip
is structured as a date, following the woman and man, alone, before they
meet in her apartment, and what is striking is that (almost) all the
shots are static – the camera is set up to record what is in front of it
with a minimum of obvious mediation or 3rd-person intervention. Which
makes the later anomalies and exceptions that much more striking – and
powerful.

We begin with shots of the woman, the clip professes itself as German, getting ready in the bathroom. (The on-screen title, anne’s geburtstag, translates to “Anne’s Birthday”). Static camera records her provocatively putting on stockings. She makes it a point to 1) masturbate and 2) masturbate with her ass and pussy pointed at the camera.

Her talking to herself, at least to me, was unintelligible. Subsequent shots, from the same angle but closer, suggest only post-production mediation and no actual third party present or directing.
Then we get a shot as the date enters the apartment, opening the door and walking in. The camera is handheld, and follows him as he looks around.

At this point we presume that this is a variant of a self-shot video, and expect our protagonist, the naked Swedish /German woman getting ready for the date and having set up a camera to observe her own preparations, to have taken charge of the mediation by holding the camera herself. We expect him at any minute to turn around to face us (the camera) and say hi.
Yet, she hasn’t and he doesn’t. The shot continues, pregnantly and oozingly suggesting that at any moment a mediator – some objective observer already delineated (and she is at this point the only other one) – will present themselves within the tapestry of the text. This impression is only stronger the second time you see the complete video – the rest is constructed so aggressively and clearly as a self-narrated event, with a limited cast of 2, that to have this “third-person” POV shot intrudes and undermines what is otherwise a clearly objective documentation. Here we wonder – who else is in the room? A cameraman? We hope – and discover, perhaps confused but ultimately relieved – that only she and him are present, suggesting upon reflection that this camera move could indeed have only been captured by her, a kind of place-keeping continuity insert.
The fact that he does not turn and address us keeps the invisible and non-diagetic cameraman/mediator out of the text, in spite of the shot’s insistence of his presence.
It’s a misstep, one fraught and potent with aesthetic conflict. A subsequent shot of the girl, still in the bathroom, verifies that he is meant to be alone in the front room, a problematic and troublizing development not explicated. (Other versions online are shorter, and most of them start from here, after his entrance into the space of the upcoming event, eliding the troubling inserted hand-held shot at the expense of losing the visually striking tableau of her initial masturbatory preparation.)

We return to a wide objective and static shot for the remainder of the meet-and-greet. The girl enters and kisses the guy and takes the bottle he has brought with him. Within moments she is flirting and rubs his butt through his pants and eventually raises her skirt to show him, she is not wearing any underwear.

A similar angle, but closer, reveals the subsequent visual pleasure of her pleasuring her date. She blows him, with occasional glances at the camera. While she knows it is there, it is not moving. It has been set up. It observes but does not see.

They move to the kitchen. He opens the champagne and makes his cock taste better for her.

It becomes a fuck clip.

What is subtle but clear is that the camera changes position with each position change of the two participants. While the scene plays as a couple fucking each other (first) and being recorded (second), the angles are clear, well lit, and well posed, practically symmetrical in their composition.

The floor. There is a cut to this position, without the camera physical readjustment captured or included.

There is also no readjustment captured or included here. A cut reverses her cowgirl position.

Back on the table, not only the adjusted camera angle but the guy’s positioning of his body allows a beneficial view of the naked attributes of his date.

Note the Christmas lights. I’d like to compliment the actress on keeping her glasses on through this entire episode, which gives it a certain quality of nerdiness, hot spontaneity, and grow-your-cock authenticity.

Another hard cut reveals the perfectly symmetricality of their doggy-style fucking, her tits waving slowly but effectively.

Their position has changed again – as has the light, which strongly suggests this was done at a later time or at least after a break. The hard and sexy sunlight effect is diffused and may be augmented here by artificial spots.

He is fucking her nicely and is likely to finish by this point. I know I am. In fact he pulls out and she feels his cock, and then the moisture on her pussy. She looks at the camera – their silent witness… and then–

A random shot of a sky, and a plane intrudes. A parachuter drops to the ground, amidst a crowd apparently at an airshow. There is no explanation for this except that the airshow was taped over by sex, or the sex was taped over by an airshow. Perhaps our couple, sated, have taken a trip to the strip to watch the stunt fliers.

And then, just as suddenly, we’re back. Our daylight lighting is back too. This anomaly of image introduces a narrative flavor outside the text of the manner at hand certainly, and creates a random, asynchronous and perhaps telling personal and historical element.
The tape is an artifact of its construction, and the images, though presumably posed and staged, are ultimately simply a result of what happened in front of the camera, who was capturing it, and how their intention met with the actuality of the result.
If nothing else, the short shot (lasting 4 1/2 seconds or so) establishes the time of day as mid afternoon, something we have suspected and appreciate in the lighting scheme of the clip.

The event as depicted flirts problematically between the status of a captured performance and one staged specifically as a constructed narrative. The single POV shot begs the question of who is in charge of the image making, but by never establishing a true third-person presence (the camera never “moves” when the girl is also on screen) the clip allows us to believe in the reiteration of a purely random set of images telling a self-told and self-posed narrative by true amateurs, particularly by a random, “unprofessional” and incongruous shot of an airshow.
The shot back to the girl masturbating after the POV shot teasingly suggests she is the camera operator but is only playing that part to construct the various pieces of the narrative – not intended to be of the text at that point during the POV shot but rather, to facilitate it.

Having suggested the clip, made of of numerous shots as explicated here, does not normal the normal visual /erotic ontology of pornography, indeed we do get a closer shot as the blowjob imminently leads to the guy’s ejaculation.
At least, and thankfully, it is from the same general angle. We do not go into a hyper-POV mode (from above, her looking up at us), and the angle reamins justified within the aesthetic limitations of the rest of the clip.

In a nice addition to the canon, and suggested by the title of this version of the clip, the girl keeps the cum in her mouth and swishes it lustily before reaching back, grabbing a piece of pie and letting it ooze onto her dessert. Eye contact here amplified and emphasized. This strikes me as the dirtiest and most subversive actual content of the clip and surprisingly is left off other shortened versions.
(Interestingly, or tellingly, it comprises the extent of a “hi-lite” at 5ilthy.com, at http://www.5ilthy.com/videos/2118/gf-plays-with-his-cum.html which is just the last minute of cumming and cumplay, as if the previous buildup were superfluous.)
The complete clip can be seen on our sister site, “Red Pussy Hair” blogspot, here.
We begin with shots of the woman, the clip professes itself as German, getting ready in the bathroom. (The on-screen title, anne’s geburtstag, translates to “Anne’s Birthday”). Static camera records her provocatively putting on stockings. She makes it a point to 1) masturbate and 2) masturbate with her ass and pussy pointed at the camera.
Her talking to herself, at least to me, was unintelligible. Subsequent shots, from the same angle but closer, suggest only post-production mediation and no actual third party present or directing.
Then we get a shot as the date enters the apartment, opening the door and walking in. The camera is handheld, and follows him as he looks around.
At this point we presume that this is a variant of a self-shot video, and expect our protagonist, the naked Swedish /German woman getting ready for the date and having set up a camera to observe her own preparations, to have taken charge of the mediation by holding the camera herself. We expect him at any minute to turn around to face us (the camera) and say hi.
Yet, she hasn’t and he doesn’t. The shot continues, pregnantly and oozingly suggesting that at any moment a mediator – some objective observer already delineated (and she is at this point the only other one) – will present themselves within the tapestry of the text. This impression is only stronger the second time you see the complete video – the rest is constructed so aggressively and clearly as a self-narrated event, with a limited cast of 2, that to have this “third-person” POV shot intrudes and undermines what is otherwise a clearly objective documentation. Here we wonder – who else is in the room? A cameraman? We hope – and discover, perhaps confused but ultimately relieved – that only she and him are present, suggesting upon reflection that this camera move could indeed have only been captured by her, a kind of place-keeping continuity insert.
The fact that he does not turn and address us keeps the invisible and non-diagetic cameraman/mediator out of the text, in spite of the shot’s insistence of his presence.
It’s a misstep, one fraught and potent with aesthetic conflict. A subsequent shot of the girl, still in the bathroom, verifies that he is meant to be alone in the front room, a problematic and troublizing development not explicated. (Other versions online are shorter, and most of them start from here, after his entrance into the space of the upcoming event, eliding the troubling inserted hand-held shot at the expense of losing the visually striking tableau of her initial masturbatory preparation.)
We return to a wide objective and static shot for the remainder of the meet-and-greet. The girl enters and kisses the guy and takes the bottle he has brought with him. Within moments she is flirting and rubs his butt through his pants and eventually raises her skirt to show him, she is not wearing any underwear.
A similar angle, but closer, reveals the subsequent visual pleasure of her pleasuring her date. She blows him, with occasional glances at the camera. While she knows it is there, it is not moving. It has been set up. It observes but does not see.
They move to the kitchen. He opens the champagne and makes his cock taste better for her.
It becomes a fuck clip.
What is subtle but clear is that the camera changes position with each position change of the two participants. While the scene plays as a couple fucking each other (first) and being recorded (second), the angles are clear, well lit, and well posed, practically symmetrical in their composition.
The floor. There is a cut to this position, without the camera physical readjustment captured or included.
There is also no readjustment captured or included here. A cut reverses her cowgirl position.
Back on the table, not only the adjusted camera angle but the guy’s positioning of his body allows a beneficial view of the naked attributes of his date.
Note the Christmas lights. I’d like to compliment the actress on keeping her glasses on through this entire episode, which gives it a certain quality of nerdiness, hot spontaneity, and grow-your-cock authenticity.
Another hard cut reveals the perfectly symmetricality of their doggy-style fucking, her tits waving slowly but effectively.
Their position has changed again – as has the light, which strongly suggests this was done at a later time or at least after a break. The hard and sexy sunlight effect is diffused and may be augmented here by artificial spots.
He is fucking her nicely and is likely to finish by this point. I know I am. In fact he pulls out and she feels his cock, and then the moisture on her pussy. She looks at the camera – their silent witness… and then–
A random shot of a sky, and a plane intrudes. A parachuter drops to the ground, amidst a crowd apparently at an airshow. There is no explanation for this except that the airshow was taped over by sex, or the sex was taped over by an airshow. Perhaps our couple, sated, have taken a trip to the strip to watch the stunt fliers.
And then, just as suddenly, we’re back. Our daylight lighting is back too. This anomaly of image introduces a narrative flavor outside the text of the manner at hand certainly, and creates a random, asynchronous and perhaps telling personal and historical element.
The tape is an artifact of its construction, and the images, though presumably posed and staged, are ultimately simply a result of what happened in front of the camera, who was capturing it, and how their intention met with the actuality of the result.
If nothing else, the short shot (lasting 4 1/2 seconds or so) establishes the time of day as mid afternoon, something we have suspected and appreciate in the lighting scheme of the clip.
The event as depicted flirts problematically between the status of a captured performance and one staged specifically as a constructed narrative. The single POV shot begs the question of who is in charge of the image making, but by never establishing a true third-person presence (the camera never “moves” when the girl is also on screen) the clip allows us to believe in the reiteration of a purely random set of images telling a self-told and self-posed narrative by true amateurs, particularly by a random, “unprofessional” and incongruous shot of an airshow.
The shot back to the girl masturbating after the POV shot teasingly suggests she is the camera operator but is only playing that part to construct the various pieces of the narrative – not intended to be of the text at that point during the POV shot but rather, to facilitate it.
Having suggested the clip, made of of numerous shots as explicated here, does not normal the normal visual /erotic ontology of pornography, indeed we do get a closer shot as the blowjob imminently leads to the guy’s ejaculation.
At least, and thankfully, it is from the same general angle. We do not go into a hyper-POV mode (from above, her looking up at us), and the angle reamins justified within the aesthetic limitations of the rest of the clip.
In a nice addition to the canon, and suggested by the title of this version of the clip, the girl keeps the cum in her mouth and swishes it lustily before reaching back, grabbing a piece of pie and letting it ooze onto her dessert. Eye contact here amplified and emphasized. This strikes me as the dirtiest and most subversive actual content of the clip and surprisingly is left off other shortened versions.
(Interestingly, or tellingly, it comprises the extent of a “hi-lite” at 5ilthy.com, at http://www.5ilthy.com/videos/2118/gf-plays-with-his-cum.html which is just the last minute of cumming and cumplay, as if the previous buildup were superfluous.)
The complete clip can be seen on our sister site, “Red Pussy Hair” blogspot, here.