A SCHOLARLY BOOK REPOSITORY
Laura Helen Marks investigates the contradictions and seesawing gender dynamics in Victorian-inspired adult films and looks at why pornographers persist in drawing substance and meaning from the era's Gothic tales. She focuses on the particular Victorianness that pornography prefers, and the mythologies of the Victorian era that fuel today's pornographic fantasies. In turn, she exposes what porning the Victorians shows us about pornography as a genre.
A bold foray into theory and other forbidden places, Alice in Pornoland reveals how modern-day Victorian Gothic pornography constantly emphasizes, navigates, transgresses, and renegotiates issues of gender, sexuality, and race.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Many feminists would say that this widely publicised version of feminism is itself sexist, and that the increasingly vocal anti-pornography campaigns are founded on theoretical dead-ends that have allowed feminists to deviate drastically from the basic goals of women's liberation.
Bad Girls & Dirty Pictures puts these anti-sex, anti-porn arguments under the microscope of a more thorough and considered feminist analysis. It examines the flaws in the research that purports to prove the harm of pornography and warns against the continuing use of censorship by politicians and the moral right, as well as exposing the dangers of anti-porn feminist arguments.
Contributions from a wide range of women, including sex workers and academics, remind us that pornography does not have a special place in our oppression, and that censorship must still be seen as dangerous enemy of women. Bad Girls & Dirty Pictures is a much-needed antidote to falsehoods, shabby thinking, and patronising sexism that have fuelled anti-pornography campaigns and misled the women's movement.
Struggling to survive in post–World War II Germany, Beate Uhse (1919–2001)—a former Luftwaffe pilot, war widow, and young mother—turned to selling goods on the black market. A self-penned guide to the rhythm method found eager buyers and started Uhse on her path to becoming the world’s largest erotica entrepreneur. Battling restrictive legislation, powerful churches, and conservative social mores, she built a mail-order business in the 1950s that sold condoms, sex aids, self-help books, and more. The following decades brought the world’s first erotica shop, the legalization of pornography, the expansion of her business into eastern Germany, and web-based commerce.
Uhse was only one of many erotica entrepreneurs who played a role in the social and sexual revolution accompanying Germany’s transition from Nazism to liberal democracy. Tracing the activities of entrepreneurs, customers, government officials, and citizen-activists, Before Porn Was Legal brings to light the profound social, legal, and cultural changes that attended the growth of the erotica sector. Heineman’s innovative readings of governmental and industry records, oral histories, and the erotica industry’s products uncover the roots of today’s sexual marketplace and reveal the indelible ways in which sexual expression and consumption have become intertwined.
Using this textbook example of social hysteria as a springboard, Kipnis argues that criminalizing fantasy—even perverse and unacceptable fantasy—has dire social consequences. Exploring the entire spectrum of pornography, she declares that porn isn’t just about gender and that fantasy doesn’t necessarily constitute intent. She reveals Larry Flynt’s Hustler to be one of the most politically outspoken and class-antagonistic magazine in the country and shows how fetishes such as fat admiration challenge our aesthetic prejudices and socially sanctioned disgust. Kipnis demonstrates that the porn industry—whose multibillion-dollar annual revenues rival those of the three major television networks combined—know precisely how to tap into our culture’s deepest anxieties and desires, and that this knowledge, more than all the naked bodies, is what guarantees its vast popularity.
Bound and Gagged challenges our most basic assumptions about America’s relationship with pornography and questions what the calls to eliminate it are really attempting to protect.
Throughout the United States, groups of individuals have been confronting the issues surrounding sexually explicit materials. Many have concurred in their perceptions of what is pornographic, have assessed pornography to be a problem our society must deal with, and have made organized efforts within their communities to stop or restrict the commercial availability of such materials. Citizens for Decency is an examination of two antipornography crusades, one in the Midwest and the other in the Southwest. It examines the evolution and impact of such crusades, the satisfaction derived from participating, and the relevant characteristics of the participants and their opponents. It is the first systematic, comprehensive, and theory-oriented study of antipornography crusades and one of the few studies that analyze movements to resist change.
The book begins with the assumption that the term pornography is a value judgment and that the labeling of sexually explicit materials as “pornographic” can be adequately understood only in the wider context of sociological and psychological structures and processes. In approaching the antipornography crusades, Louis A. Zurcher and R. George Kirkpatrick gathered data by observation and document search and by interviews with persons well informed about and central to the crusades. Their examination of the organizations that directed the two movements is particularly extensive, and their comparative analysis of the two organizations allows them to determine which features are the most important, how these characteristics interact, and what their relationship is to the symbolic crusade.
Among their important findings, the authors show that antipornography crusaders are people discontent with their status who have mobilized to protect the dominance and prestige of their traditional life styles. The participants in the crusades are shown to differ from their opponents in a number of significant ways. In the final chapters, the authors analyze their findings with reference to social movement theory and offer predictions concerning future symbolic crusades.
This volume also provides an independent assessment of the results of other Petexbatun region subprojects and a comparative evaluation of recent studies by other projects of Late and Terminal Classic culture change. For bioarchaeologists, this work sets a new standard in breadth and depth of osteological study. For Pre-Columbian scholars in general, it provides new insights into the environmental and biological issues involved in the debate on the end of the Classic period of Maya civilization.
VIMA Series #2
Who were the Saninists, and what was their “teaching” all about? Delving into police reports, newspaper clippings, and amateur plays, Otto Boele finds that Russian youth were not at all swept away by the self-indulgent lifestyle of the novel’s hero. In fact, Saninism was more smoke than fire—a figment of the public imagination triggered by anxieties about the revolution of 1905 and the twilight of the Russian empire. The reception of the novel, Boele shows, reflected much deeper worries caused by economic reforms, an increase in social mobility, and changing attitudes toward sexuality.
Showing how literary criticism interacts with the age-old medium of rumor, Erotic Nihilism in Late Imperial Russia offers a meticulous analysis of the scandal’s coverage in the provincial press and the reactions of young people who appealed to their peers to resist the novel’s nihilistic message. By examining the complex dialogue between readers and writers, children and parents, this study provides fascinating insights into Russian culture on the eve of World War I.
The Intellect Handbook of Adult Film and Media brings together thirty-six chapters organized into six sections, ranging from historical and methodological approaches to issues of representation, production, and spectatorship, to transnational perspectives, and questions of law, health, and policy, offering a comprehensive survey of this growing field. Written by leading scholars, the volume examines sexually explicit media in its full context: its production, circulation, consumption, and reception. Engaging with an extensive body of scholarship, the essays provide overviews of key literature, major historical developments, and central theoretical debates, supporting the continued growth of adult film and media studies as a legitimate area of academic inquiry. Designed as both a reference work and a teaching resource, the handbook will be invaluable to emerging scholars and educators working in film, media, gender, sexuality, and porn studies.
International Exposure demonstrates the wealth of desires woven into the fabric of European history: desires about empire and nation, about self and other, about plenty and dearth. By documenting the diverse meanings of pornography, senior scholars from across disciplines show the ways that sexuality became central to the individual, to the nation, and to the transnational character of modern society.
The ten essays in the volume engage a rich array of topics, including obscenity in the German states, censorship in France’s Third Republic, “she-male” internet porn, the rise of incestuous longings in England, the place of the Hungarian video revolution in the global market, and the politics of pornography in Russia. Taken together, the essays illustrate the latest approaches to content, readership, form, and delivery in modern European pornography.
A substantial discussion of the broad history and state of the field complements the ten in-depth case studies that examine a wide range of sources from literature to magazines, video to the internet. By tackling the highbrow and lowdown of the pornographic form, this volume lays the groundwork for the next surge of studies in the field.
We usually think of women as the victims of pornography rather than its consumers. Whether appearing in films, peering provocatively from the pages of magazines, or posing on explicit Web-sites, women are considered the dehumanized objects of unseen lascivious male viewers. But in her controversial new book One for the Girls!, Clarissa Smith debunks this myth and challenges women to read, watch, and enjoy pornography on their own terms. Focusing on the British magazine For Women, Smith looks at its readers’ responses to male pinups and erotica and explores the intricacies of women’s unique reactions to pornography.
Critics tend to focus on mass-produced materials and make claims about pornography as plasticized or commodified. In contrast, eminent historian Lisa Z. Sigel looks at what people made, rather than what they bought, revealing how people thought about sexuality for themselves. She also explores periods when these sexual artifacts were pilloried, ransacked, and destroyed, providing a unique document of rare nineteenth- and twentieth-century objects. Whalers and craftsmen, prisoners and activists, African Americans and feminists—all made their own pornography. Ranging across the full sweep of this output, The People’s Porn challenges preconceptions as it tells a new and fascinating story about American sexual history.
Then, based on the project's findings, Demarest presents interpretive reconstructions of the linked histories of the Pasion River kingdoms and correlates these interpretations with the variable evidence and culture-histories of other regions of the Classic Maya lowlands. He points out that only through linking such accurate regional culture-histories can we begin to understand the eighth- through tenth-century changes in Classic Maya civilization. The volume describes how the Petexbatun project addressed this challenge in its research design, structure, and large, multicentered zone of study. Building on the previous twenty years of Harvard research in adjacent zones, the Vanderbilt projects succeeded in reconstructing events and processes throughout the Pasion River Valley, the largest single inland trade route of the ancient Maya world.
In its conclusions, this first of the Petexbatun volumes of multidisciplinary studies, evidence, analyses, and interpretations, provides answers to some long-standing questions about the "Classic Maya collapse," as well as a new, preliminary culture-history of the abandonment, decline, or transformation of the Classic Maya kingdoms of the western Peten. It is an exciting preview and summary of a decade of evidence on the debate over the fate of the Classic Maya civilization, one of the great controversies in the history of Pre-Columbian archaeology. VIMA Series #1
An updated edition of this essential work.
Since its initial publication, Policing Desire has proved to be an unparalleled analysis of “the cacophony of voices which sounds through every institution of our society on the subject of AIDS.” For the third edition Simon Watney has provided a new preface, a compelling new concluding essay, and a directory for AIDS information that includes electronic resources.
“A far-reaching analysis of images of AIDS and homosexuality in the media. . . . In Policing Desire, Simon Watney called the media on its own game, and the media actually changed its coverage of AIDS and queer issues.” Voice Literary Supplement“Simon Watney’s Policing Desire is essential reading for anyone who wants to press the question of how the media represents AIDS . . . it will stand as a great work of criticism written from the trenches.” New York Native“A landmark work in AIDS analysis because of the combination of emotional urgency and analytical insight that it manifests.” American Book ReviewWinner of the Gustavus Myers Prize for the Study of Human RightsISBN 0-8166-3024-0 Cloth $39.95xx CUSAISBN 0-8166-3025-9 Paper $16.95x CUSA000 pages 0 x 0 MarchMedia Studies/Social TheoryPolicing DesirePornography, AIDS and the MediaThird EditionSimon WatneyAn updated edition of this essential work. Since its initial publication, Policing Desire has proved to be an unparalleled analysis of “the cacophony of voices which sounds through every institution of our society on the subject of AIDS.” For the third edition Simon Watney has provided a new preface, a compelling new concluding essay, and a directory for AIDS information that includes electronic resources.“A far-reaching analysis of images of AIDS and homosexuality in the media. . . . In Policing Desire, Simon Watney called the media on its own game, and the media actually changed its coverage of AIDS and queer issues.” Voice Literary Supplement“Simon Watney’s Policing Desire is essential reading for anyone who wants to press the question of how the media represents AIDS . . . it will stand as a great work of criticism written from the trenches.” New York Native“A landmark work in AIDS analysis because of the combination of emotional urgency and analytical insight that it manifests.” American Book ReviewSimon Watney is the director of the Red Hot AIDS Charitable Trust, which distributes funds internationally for HIV/AIDS prevention and education. Watney lives in London, England.
The essays in this collection address the historically and culturally varied interactions between porn and the archive. Topics range from library policies governing access to sexually explicit material to the growing digital archive of "war porn," or eroticized combat imagery; and from same-sex amputee porn to gay black comic book superhero porn. Together the pieces trace pornography as it crosses borders, transforms technologies, consolidates sexual identities, and challenges notions of what counts as legitimate forms of knowledge. The collection concludes with a valuable resource for scholars: a list of pornography archives held by institutions around the world.
Contributors. Jennifer Burns Bright, Eugenie Brinkema, Joseph Bristow, Robert Caserio, Ronan Crowley, Tim Dean, Robert Dewhurst, Lisa Downing, Frances Ferguson, Loren Glass, Harri Kahla, Marcia Klotz, Prabha Manuratne, Mireille Miller-Young, Nguyen Tan Hoang, John Paul Ricco, Steven Ruszczycky, Melissa Schindler, Darieck Scott, Caitlin Shanley, Ramon Soto-Crespo, David Squires, Linda Williams
The essays in this volume move beyond feminist debates and distinctions between a “good” erotica and a “bad” hard core. Contributors examine varieties of pornography from the tradition of the soft-core pin-up through the contemporary hard-core tradition of straight, gay, and lesbian videos and dvds to the burgeoning phenomenon of pornography on the Internet. They explore, as examples of the genre, individual works as divergent as The Starr Report, the pirated Tommy Lee/Pamela Anderson honeymoon video, and explicit Japanese “ladies’ comics” consumed by women. They also probe difficult issues such as the sexualization of race and class and the relationship of pornography to the avant-garde. To take pornography seriously as an object of analysis also means teaching it. Porn Studies thus includes a useful annotated bibliography of readings and archival sources important to the study of pornography as a cultural form.
Contributors. Heather Butler, Rich Cante, Jake Gerli, Minette Hillyer, Nguyen Tan Hoang, Despina Kakoudaki, Franklin Melendez, Ara Osterweil, Zabet Patterson, Constance Penley, Angelo Restivo, Eric Schaefer, Michael Sicinski, Deborah Shamoon, Maria St. John, Tom Waugh, Linda Williams
For many Americans, the emergence of a “porno chic” culture provided an opportunity to embrace the sexual revolution by attending a film like Deep Throat (1972) or leafing through an erotic magazine like Penthouse. By the 1980s, this pornographic moment was beaten back by the rise of Reagan-era political conservatism and feminist anti-pornography sentiment.
This volume places pornography at the heart of the 1970s American experience, exploring lesser-known forms of pornography from the decade, such as a new, vibrant gay porn genre; transsexual/female impersonator magazines; and pornography for new users, including women and conservative Christians. The collection also explores the rise of a culture of porn film auteurs and stars as well as the transition from film to video. As the corpus of adult ephemera of the 1970s disintegrates, much of it never to be professionally restored and archived, these essays seek to document what pornography meant to its producers and consumers at a pivotal moment.
In addition to the volume editors, contributors include Peter Alilunas, Gillian Frank, Elizabeth Fraterrigo, Lucas Hilderbrand, Nancy Semin Lingo, Laura Helen Marks, Nicholas Matte, Jennifer Christine Nash, Joe Rubin, Alex Warner, Leigh Ann Wheeler, and Greg Youmans.
Discussing Supreme Court decisions regarding obscenity, Richard F. Hixson highlights the views of Justices William J. Brennan and John Paul Stevens, borrows from the pioneer decisions of Judge Learned Hand, and consults the work of contemporary First Amendment scholars; finally, though, he relies not on public debate or political machinations but on the justices’ own published opinions, which are, as he says, "the most tantalizing documents of all."
Hixson proceeds chronologically through eleven chapters, with each chapter featuring a specific aspect of the constitutional problem and the approach or solution espoused by a particular justice. Through his case-by-case analysis of the many Supreme Court obscenity rulings, Hixson relates each decision to the temper of the times.
In this investigation of the Supreme Court’s dealings with obscenity, Hixson asks—and answers in detail—a series of pertinent questions. Do Congressional politics and public opinion prejudice the Court’s ability to interpret the Constitution fairly? Must adults be treated the same as children? What are the limits, if any, of "content restriction" on obscene materials? How much "expressive activity" is, or should be, protected by the First Amendment? Does pornography discriminate against women? How protective of the individual can the Supreme Court be and, at the same time, allow as many voices as possible to be heard?
Pornography and the Justices differs from other studies of pornography in its unique focus and its fresh conclusion, which is a composite of views garnered from the Supreme Court justices. As long as there is ample protection of minors and nonconsenting adults, Hixson argues, obscenity should be up to the individual. Separating himself from others who have discussed the issue, Hixson contends that the freedom to speak is as important as the freedom to be heard: it is essential to be able to speak whether or not anyone is listening.
For Hixson, the clear trajectory of Supreme Court opinions implies that the freedom to purchase obscene pornographic matter should be restricted only by time, place, and manner considerations. If a person wants pornography, he or she should be able to get it, albeit perhaps from a higher shelf, in a secluded room, or at a theater clearly marked for adults.
In this collection of path-breaking essays, thirteen respected scholars bring critical insights to the reality of porn and what it can tell us about ourselves sexually, culturally, and economically. Moving beyond simplistic feminist and religious positions that cast these films as categorical evils-a collective preserve of sexual perversion, misogyny, pedophilia, and racism-the contributors to this volume raise the bar of the debate and push porn studies into intriguing new territory.
The essays are divided into two sections. The first reprints important debates on the topic and traces the evolution of pornographic film, including comparing its development to that of Hollywood cinema. The second part presents new essays that consider current trends in the field, including pornography's expansion into new technologies.
This book separates this compelling genre from the sensation and shame that have long surrounded and obscured it. It will be of interest to general readers and film scholars alike.
With work by prominent scholars in queer, transgender, and sexuality studies, and with topics such as the queer archive, hoarding, masochism, the queer mystery, race and desire, sexology, and gay pornography, Samuel Steward and the Pursuit of the Erotic will appeal to a wide range of readers across a variety of disciplines invested in queer experience. Closing on a personal recollection from one of Steward’s last close friends, the volume will also appeal to readers interested in the personal aspects of this fascinating, idiosyncratic figure’s multifaceted life.
Combining stories of her own coming of age as a moviegoer with film history, cultural history, and readings of significant films, Williams presents a fascinating history of the on-screen kiss, a look at the shift from adolescent kisses to more grown-up displays of sex, and a comparison of the “tasteful” Hollywood sexual interlude with sexuality as represented in sexploitation, Blaxploitation, and avant-garde films. She considers Last Tango in Paris and Deep Throat, two 1972 films unapologetically all about sex; In the Realm of the Senses, the only work of 1970s international cinema that combined hard-core sex with erotic art; and the sexual provocations of the mainstream movies Blue Velvet and Brokeback Mountain. She describes art films since the 1990s, in which the sex is aggressive, loveless, or alienated. Finally, Williams reflects on the experience of screening sex on small screens at home rather than on large screens in public. By understanding screening sex as both revelation and concealment, Williams has written the definitive study of sex at the movies.
Linda Williams is Professor of Film Studies and Rhetoric at the University of California, Berkeley. Her books include Porn Studies, also published by Duke University Press; Playing the Race Card: Melodramas of Black and White from Uncle Tom to O. J. Simpson; Viewing Positions: Ways of Seeing Film; and Hard Core: Power, Pleasure, and the “Frenzy of the Visible.”
A John Hope Franklin Center Book
November
424 pages
129 illustrations
6x9 trim size
ISBN 0-8223-0-8223-4285-5
paper, $24.95
ISBN 0-8223-0-8223-4263-4
library cloth edition, $89.95
ISBN 978-0-8223-4285-4
paper, $24.95
ISBN 978-0-8223-4263-2
library cloth edition, $89.95
This provocative collection, by well-known feminists, surveys these arguments, and in particular asks why recent feminist debates about sexuality keep reducing to questions of pornography.
Over the past twenty years debates about pornography have raged within feminism and beyond. Throughout the 1970s feminists increasingly addressed the problem of men's sexual violence against women, and many women reduced the politics of men's power over women to questions about sexuality. By the 1980s these questions had become more and more focused on the issue of pornography––now a metaphor for the menace of male power. Collapsing feminist politics into sexuality and sexuality into pornography has not only caused some of the deepest splits between feminists, but made it harder to think clearly about either sexuality or pornography––indeed, about feminist politics more generally.
This provocative collection, by well-known feminists on both sides of the Atlantic, surveys these arguments, and in particular asks why recent feminist debates about sexuality keep reducing to questions of pornography. The authors open up the debate by looking at such topics as the improbable alliance between the right and pro-censorship feminists, the displacement of heterosexual desire and its discontents onto pornography, Andrea Dworkin's novel Mercy, psychoanalytic reflections on fantasy, censorship in relation to AIDS work, the new lesbian and bisexual pornography, the controversy over Robert Mapplethorpe's supposed racism in his photos of black nudes, Mae West as sexual icon and her brushes with the law, and the female nude in "high" art.
In addition to the editors, the contributors are Elizabeth Cowie, Harriett Gilbert, Robin Gorna, Marybeth Hamilton, Loretta Loach, Anne McClintock, Kobena Mercer, Jane Mills, Mandy Merck, Lynda Nead, Gillian Rodgerson, Carol Smart, Carole S. Vance, Linda Williams, and Elizabeth Wilson.
Side Dishes considers feminist pornography and literary representations of masturbation, bisexuality, lesbianism, and sexual fantasies; the treatment of lust in stand-up comedy and science fiction; critical issues in leading feminist journals; and portrayals of sexuality in four contemporary Latin American films. Melissa A. Fitch concludes with a look at the rise of women's and gender studies programs in Latin America.
Side Dishes considers feminist pornography and literary representations of masturbation, bisexuality, lesbianism, and sexual fantasies; the treatment of lust in stand-up comedy and science fiction; critical issues in leading feminist journals; and portrayals of sexuality in four contemporary Latin American films. Melissa A. Fitch concludes with a look at the rise of women's and gender studies programs in Latin America.
Smut investigates sex in a way that differes from nearly all previous books on the subject. Drawing on a wide variety of literary forms, including the work of novelists, poets, and even comedians–resources ranging from the most sublime theologians to the most profane pornographers–Murray S. Davis goes beyond those who regard sex merely as a biological instinct or animal behavior. He recaptures sex for the social sciences by reemphasizing the aspects of it that are unique to human beings in all their rich perplexity.
In part one, Davis employs a phenomenlogical approach to examine the differrence between sexual arousal and ordinary experience: sexual arousal, he argues, alters a person's experience of the world, resulting in an "erotic reality" that contratsts strikingly to our everyday reality; different perceptions of time, space, human bodies, and other social types occur in each realm. Davis describes in detail the movement from everyday into erotic reality from the first subtle castings-off to the shocking post-orgasmic return.
In part two the author employs a structuralist approach to determine why some people find this alternation between realities "dirty." He begins with a meditation on the similarity between sex and dirt and then asks, "How must somone view the world for him to find sex dirty?" Normal sex can be disliked, Davis concludes, only if it violates a certain conception of the individual; perverted sex can be despised only if it further violates certain conceptions of social relations and social organization. Davis ends part two with a "periodic table of perversions" that systematically summarizes the fundamental social elements out of which those who find sex dirty construct their world.
Finally, in part three Davis considers other conceptual grids affected by the alternation between everyday and erotic realities: the "pornographic," which concieves of the individual, social relations, and social organizations as deserving to disrupted by sex; and the "naturalistic," which concieves of them in a way that cannot be disrupted by sex. Throughout history these ideologies have contested for control over Western society, and, in his conlusion, Davis ofers a prognosis for the future of sex based on these historical ideological cycles.
Contributors
Skylar Adams, Carolyn Bronstein, Lynn Comella, Korra Del Rio, Sly Fawkes, Aster Gilbert, RL Goldberg, Laura Horak, Valentina Mia, Geoffrey H. Nicholson, Sophie Pezzutto, Matt Richardson, Whitney Strub, Rae Threat
Prior to 2000, it was a criminal offense to sell hardcore pornography in Britain. Despite this, there was a thriving alternative economy producing and distributing such material “under the counter” of Soho’s bookshops and via mail-order. British entrepreneurs circumvented obscenity laws to satisfy the demand for uncensored adult films and profit from their enterprise, with corrupt members of the Metropolitan Police’s Obscene Publications Squad permitting them to trade.
By the late 1960s, Britain had developed an international reputation for producing “rollers,” short hardcore films distributed on 8mm, which were smuggled out of Britain for sale in Western Europe. Following an exposé by Britain’s tabloid press, a crackdown on police corruption, and several high-profile obscenity trials, the trade was all but decimated, with pornography smuggled in from Europe dominating the market.
Drawing on extensive archival research, including the use of legal records, police files, media reportage, and interviews with those who were involved in the business, Under the Counter tells the story of Britain’s trade in 8mm hardcore pornographic films and its regulation.
VIMA Series #3
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