Humans have been making pictures of sexual acts for almost as long as they have been having sex. At some point, a female or a male Homo sapiens untangled her/himself after a long session with their current squeeze and thought, “Ah, that was really nice! I think I’ll mark this moment on this cave wall here, right next to where Shmrog has made these drawings of yesterday’s mammoth hunt.” Since the booting up of human time, something in the Homo sapiens mind has wanted to record all bodily activity: hunting, eating, sleeping, dancing and sure enough, getting jiggy. So we have cave paintings, early carvings, miniatures, pata-chitra, Khajuraho and Konarak. In the modern age, in the western hemisphere, we have etchings and lithographs, water-colours and line-drawings. Somewhere in the very hot and fetid lap of the 19th century, photography is invented and its most popular use is quickly found: to photograph attractive bodies, half-clothed or completely naked, alone, posing coquettishly (mostly women, but men too). Or, in some frozen coitus while the photographer flashed his flare and told both, or all three, or five, to hold tight. Towards the end of the 19th century, some people begin to make the still images riffle across our eyes; soon after the invention of cinema we get some enterprising fellow alighting upon the idea that the people in the naughty books no longer needed to hold still and pretend, they could actually be doing the in-out activity in real time, as it were.
Parallel to the movie camera, the telephone is being developed as well. All over Europe and the United States, people are calling each other to make dates to gather to make sexual movies. It probably never occurs to anyone that the two large awkward instruments, the telephone and the moving picture camera, could one day be squeezed into the same tiny closet and forced to procreate. These are pre-XXX days, with people doing amateur things in parts of New York, LA, Paris and Berlin. The Second World War changes things and the industry goes seriously professional in the West; from films in various gauges over the ’50s, ’60s and ’70s things move in the ’80s to a) video-shooting and b) VCR-watching. This is when Indian Man and Indian Economic Muscle unfurl themselves. By the time the mobile telephone grows a camera and a system to pass on moving images via MMS, the Indian male is ready to take over, to come into his own, so to speak.
The Lost Glory Of McCluskieganj 
McCluskieganj: The Ghost of 'Mini England' 
