The seventh PopPorn Festival (2017), themed Our Body, Our Rules, revolved around sexual agency and exploration, principles that each film, workshop, and debate addressed in its own way. Inscribed in a transnational feminist and queer-porn film culture, the PopPorn Festival decimated heteropatriarchal norms while creating a space to learn, inspire, and create a variety of sexual perspectives. Epitomizing the concept of cultural cannibalism, these sexual ideas and practices traveled from their country of production to the Brazilian film festival, which absorbed them, thus enriching its own culture. Each film analyzed in this dissertation is itself anthropornophagous, the neologism I devised to express the metaphorical devouring a patriarchal enemy through pornography. These films offer unique avenues of reflection on the place of sexual pleasure and its explicit representation in Western culture, on pornography as a vessel to oppose the heteropatriarchal system, and on the extent to which feminist and queer pornographies can constitute a source of inspiration for shame-free sexual expression. The four films analyzed in this dissertation resist patriarchal oppression on different grounds and react to a state of affairs that is dissatisfying. Not only do they question norms, they also create new ways to be sexually inspired.

The present thesis uses as its primary source of inspiration Argentine author Abel Posse's El largo atardecer del caminante (1992), which boasts the historically-based, unconventional Spanish conquistador, Álvar Núñez Cabeza de Vaca, as its main protagonist and narrator. I explore the juxtaposition of two opposing forms of metaphorical consumption in the novel. To highlight the first, I apply to the fictional Cabeza de Vaca the general concept of antropofagia cultural, or "cultural cannibalism," as described by Brazilian writer Oswald de Andrade in his "Manifesto Antropófago" (1928). I specifically examine the symbolic development of Posse's Cabeza de Vaca as the first latinoamericano via cultural anthropophagy. Over time, the life-altering experiences during the course of his wanderings in North and South America convert him into an antropófago cultural by virtue of his conscientious, metaphorical consumption of the Other. By extension, Cabeza de Vaca becomes a model for the first latinoamericano, wrought, not through miscegenation, but rather through cultural contact. The second kind of consumption, on the other extreme, is represented in the novel through sixteenth-century Spain and its quasi-literal, compulsive consumption and subsequent expulsion of the New World Other. This is seen through the optic of the fictional Cabeza de Vaca in his waning moments in Seville. Posse's rendition of Spain, as seen through his historically-inspired narrator, is representative of the metaphorical indigestion caused by a thoughtless consumption of products, practices, lands, and even people from the New World. I put on display the manner in which sixteenth-century Spain is portrayed in the novel as suffering a figurative bloating, consuming so much, so fast, seemingly growing large and powerful until it is ultimately revealed as being sick and weak.