Pornography

The impacts of pornography are varied and complex. Performers are often thought to be victims of abuse and exploitation, while viewers are regularly accused of becoming desensitised to sexual violence. Further, porn is held by some to perpetuate damaging racial and gender stereotypes. I contend that these accusations, though not entirely baseless, are undermined for two reasons: they rest on questionable empirical evidence and ignore many of the positive consequences porn may have. In this article, I organise my analysis from (...) the screen outward, critically examining the effects porn has on performers, viewers, and wider society, and finding that in each domain it may have both positive and negative outcomes. Following this, I evaluate porn as a form of Bakhtinian carnival and discuss how online porn may offer a mode of resisting hegemonic cultural norms. On the whole, therefore, I argue that the harms attributed to porn have often been overgeneralised and exaggerated, and that porn has a range of effects unable to be captured by a mere pro/anti dichotomy. (shrink)

In 'Scorekeeping in a Pornographic Language Game', Rae Langton and Caroline West borrow ideas from David Lewis to attempt to explain how pornography might subordinate and silence women. Pornography is supposed to express certain misogynistic claims implicitly, through presupposition, and to convey them indirectly, through accommodation. I argue that the appeal to accommodation cannot do the sort of work Langton and West want it to do: Their case rests upon an overly simpified model of that phenomenon. I argue further that, (...) once we are clear about why Langton and West's account fails, a different and more plausible account of pornography's influence emerges. (shrink)

This paper has three goals. The first is to defend Tristan Taromino and Erika Lust (or some of their films) from criticisms that Rebecca Whisnant and Hans Maes make of them. Toward that end, I will be arguing against the narrow conceptions that Whisnant and Maes have of what `feminist' pornography must be like. More generally, I hope to show by example why it is important to take pornographic films seriously as films if we're to understand their potential to shape, (...) or mis-shape, socio-sexual norms. (shrink)

We offer an account of the generic use of the term “porn”, as seen in recent usages such as “food porn” and “real estate porn”. We offer a definition adapted from earlier accounts of sexual pornography. On our account, a representation is used as generic porn when it is engaged with primarily for the sake of a gratifying reaction, freed from the usual costs and consequences of engaging with the represented content. We demonstrate the usefulness of the concept of generic (...) porn by using it to isolate a new type of such porn: moral outrage porn. Moral outrage porn is representations of moral outrage, engaged with primarily for the sake of the resulting gratification, freed from the usual costs and consequences of engaging with morally outrageous content. Moral outrage porn is dangerous because it encourages the instrumentalization of one’s empirical and moral beliefs, manipulating their content for the sake of gratification. Finally, we suggest that when using porn is wrong, it is often wrong because it instrumentalizes what ought not to be instrumentalized. (shrink)

In the 1980s and 1990s, a series of attempts were made to put into U.S. law a civil rights ordinance that would make it possible to sue the makers and distributors of pornography for doing so (under certain conditions). One defence of such legislation has come to be called "the free speech argument against pornography." Philosophers Rae Langton, Jennifer Hornsby and Caroline West have supposed that this defence of the legislation can function as a liberal defence of the legislation: in (...) particular, a defence of the legislation based on the value of women's liberty. This would be somewhat unexpected given MacKinnon's own antipathy toward liberalism. In this paper, I argue that the free speech argument against pornography cannot be used as a liberal defence of the ordinances. The legislation is, to some extent, self-defeating insofar as it understood in terms acceptable to a fairly standard kind of liberal. This becomes apparent when we consider the value pornography can have for women, which we can see if we consider what female makers, distributors and consumers of pornography have to say about why they make, distribute and consume it. (shrink)

On the ten year anniversary of 2Girls1Cup, this article examines the complex balance of shock, pleasure and disgust elicited by this viral video.

We refine a line of feminist criticism of pornography that focuses on pornographic works' pernicious effects. A.W. Eaton argues that inegalitarian pornography should be criticized because it is responsible for its consumers’ adoption of inegalitarian attitudes toward sex in the same way that other fictions are responsible for changes in their consumers’ attitudes. We argue that her argument can be improved with the recognition that different fictions can have different modes of persuasion. This is true of film and television: a (...) satirical movie such as Dr. Strangelove does not morally educate in the same way as a realistic series such as The Wire. We argue that this is also true of pornography: inegalitarian depictions of sex are not invariably responsible for consumers' adoption of inegalitarian attitudes toward sex in reality. Given that pornographic works of different genres may harm in different ways, different feminist criticisms are appropriate for different genres of pornography. (shrink)

The primary purpose of depictive works of pornography, we take it, is sexual arousal through sexually explicit representations; what we callprototypical pornography satisfies those aims through the adoption of a ceteris paribus maximally realistic depictive style. Given that the purpose of sexual arousal seems best fulfilled by establishing the most robust connections between the viewer and the depictive subject, we find it curious that not all works of pornography aspire to prototypical status. Accordingly, we target for philosophical scrutiny several non-standard (...) but putatively pornographic forms: Tijuana Bibles, hentai manga, and slash-fiction. We find that works of these genres possess certain depictively or fictively oriented properties that appear at least prima facie incompatible with prototypical pornography, and thereby to pose two pressing questions that anyprima facie viable analysis of pornography must answer: the depiction question and the fiction question. By answering these questions, we can not only arrive at a deeper understanding of the aims of pornography and the reasons for which significant sub-genres of pornography might diverge from the prototypical ideal, but also perhaps better understand what lies at pornography’s edge, and so better understand the ways in which pornography might relate to what lies beyond. (shrink)

On the whole, neither those who hold that pornography can never be art nor their opponents specify what they actually mean by ‘art’, even though it seems natural that their conclusions should vary depending on how the concept is understood. This paper offers a ‘definitional crossword’ and confronts some definitions of pornography with the currently most well-established definitions of art. My discussion shows that following any of the modern definitions entails that at least some pornography not only can be, but (...) actually is, art. (shrink)

This paper is a critique of pornography from within the framework of Heideggerian phenomenology. I contend that pornography is a pernicious form of technological discourse in which women are reduced to spectral and anonymous figures fulfilling a universal role, namely that of sexual subordination. Further, the danger of pornography is covered over in the public sphere as a result of the pervasive appeal to its status as mere fantasy. I argue that relegating the problem to the domain of fantasy is (...) superficial and specious at best, inasmuch as fantasy itself is ultimately grounded in everyday reality. When not concealed as innocuous “fantasy,” pornography has been defended under the rubric of “free speech.” One of my aims is to repudiate this approach by revealing it as grounded in a highly suspect and self-contradictory phallocentric view of language. Rae Langton’s recently published collection of essays on pornography attacks the problem largely in terms of “objectification” and the Austinian notion of “illocutionary disablement” from a position of authority. In this paper, I too confront the issues of language, objectification, and authority, but as articulated by means of Heidegger’s critique of technology. (shrink)

Torture porn has been vilified on grounds that are at best unconvincing and at worst incoherent. The subgenre’s remonstrators too often ignore the content of the films themselves, and fail to make sufficiently detailed connections between the subgenre and the cultural sphere. Reactions to torture porn rarely consider what values the films apparently contravene, and why, if the films are offensive, they are simultaneously so popular. The central derisive mechanism in operation is the ill-conceived combination of ‘torture’ and ‘porn’ itself. (...) The use of ‘porn’ as a label works to illegitimate torture porn and demand that body-horror retreat to its more ‘fitting’ position on the outskirts of the cultural radar. However, this approach is too busy pointing at violence, and fails to deal with the fact that sex is displaced. If violence is now pornographic, it is unclear what position sexual portrayals occupy, or whether they are still perceived as more offensive than violent representations. Furthermore, it is uncertain how we are to describe sexual images if that is the case, since the lexicon of offense has been waylaid. Torture porn’s critics commonly fail to account for the new context of ‘porn plus horror’, and what that combination says about visual representation and its limits. This chapter is a step towards rectifying that oversight. (shrink)

Deadgirl (2008) is based around a group of male teens discovering and claiming ownership of a bound female zombie, using her as a sex slave. This narrative premise raises numerous tensions that are particularly amplified by using a zombie as the film's central victim. The Deadgirl is sexually passive yet monstrous, reifying the horrors associated with the female body in patriarchal discourses. She is objectified on the basis of her gender, and this has led many reviewers to dismiss the film (...) as misogynistic torture porn. However, the conditions under which masculinity is formed here—where adolescent males become “men” by enacting sexual violence—are as problematic as the specter of the female zombie. Deadgirl is clearly horrific and provocative: in this article I seek to probe implications arising from the film's gender conflicts. (shrink)

One striking feature of pornographic images is that they emphasize what is depicted and underplay the way it is depicted: the experience of pornography rarely involves awareness of the picture’s composition or of visual rhyme. There are various ways of making this distinction between what is depicted in a picture and the way the depicted object is depicted in it. Following Richard Wollheim, I call these two aspects, the ‘what’ and ‘how’ of pictorial representation ‘recognitional’ and ‘configurational’, respectively. Some pictures (...) emphasize one of these aspects while underplaying the other. Pornographic pictures try to trigger as little attention to the ‘configurational’ aspect as possible. Instead of examining pornography, where the ‘configurational’ aspect of experience is underplayed, I focus on a historical attempt to create images of the female body where the ‘recognigional’ element is the one that is underplayed and the ‘configurational’ elements of the picture form an essential part of our experience. The pictures I have in mind are André Kertész’s series of photographs from 1933, called Distortions. I argue that Kertész’s Distortions are in this respect the counterpoint of pornography: they may be the least pornographic representations of the female nude. Instead of ignoring the ‘configurational aspects of the picture, making the picture transparent and fully at the service of showing the female body and thus to trigger arousal, Kertész aims to achieve the exact opposite. His photographs strip the female body of all its sexual connotations and draw our attention to the formal features of the picture – which is quite a feat in the light of the subject matter of these pictures that normally draw our attention away from the formal features of pictures. (shrink)

Erotic Nights of the Living Dead (1980) may have featured both animated corpses and hardcore sex scenes, but only recently have Re-Penetrator (2004) and Porn of the Dead (2006) managed to fully eroticise the living dead, allowing these creatures to engage in intercourse. In doing so, the usually a-subjective zombie is allotted a key facet of identity - sexuality. This development within the sub-genre needs accounting for outside of the contexts of porn studies, where it has only been briefly touched (...) upon in relation to its "extremity". -/- Moreover, the gendering of the undead opens a discussion which expand the horizons of zombie studies away from the overt critiques of capitalism, race and psychoanalysis that have pervaded analyses of these narratives. The dichotomy of binary oppositions so often associated with psychoanalytic approaches dictates that "passive (non-phallic) = female", and "active (phallic) = male". In these terms, the zombies are feminine - soft-bodied and passive, despite their murderous intent (which has been accounted for, by Barabara Creed (1993) amongst others, by invoking the vagina-dentata motif). Humans (active) are deemed masculine, not least since they tend to dispatch zombies with "phallic guns". Taking this logic to an extreme, the zombie may be read as allegorising feminism: the "feminised" figures (zombies) become fearsome in their will to exert themselves despite their seeming disempowerment in the face of "masculine" hegemony. Ultimately, by grouping together as a force, they overthrow or at least significantly damage that "normality" (an ideological paradigm usually read in terms of race, class and economics). (shrink)

Jerrold Levinson conveniently summarizes the main argument of his essay "Erotic Art and Pornographic Pictures" in the following way:Erotic art consists of images centrally aimed at a certain sort of reception R1.Pornography consists of images centrally aimed at a certain sort of reception R2.R1 essentially involves attention to form/vehicle/medium/manner, and so entails treating images as in part opaque.R2 essentially excludes attention to form/vehicle/medium/manner, and so entails treating images as wholly transparent.R1 and R2 are incompatible.Hence, nothing can be both erotic art (...) and pornography; or at the least, nothing can be coherently projected as both erotic art and pornography.1I have argued elsewhere .. (shrink)

When the cluster on “Sexual Expressions” began to take shape, one of the first people I thought of to serve as a referee was Joan Mason-Grant, given her longstanding philosophical and activist interest in pornography. It was with great sorrow that I learned, when I contacted her, that she had been diagnosed with a fast moving cancer. Joan was most interested to hear about this emerging “found cluster”; “it sounds like an interesting issue of Hypatia to look forward to, but (...) unfortunately my own academic work has had to be suspended” (May 17, 2009). She died just four days later. (shrink)

This paper explores some surprising historical connections between philosophy and pornography (including pornography written by or about philosophers, and works that are both philosophical and pornographic). Examples discussed include Diderot's Les Bijoux Indiscrets, Argens's Therésè Philosophe, Aretino's Ragionamenti, Andeli's Lai d'Aristote, and the Gor novels of John Norman. It observes that these works frequently dramatize a tension between reason and emotion, and argues that their existence poses a problem for philosophical arguments against pornography.

Can pornographic depictions have artistic value? Much pornography closely resembles art, at least in many superficial respects. Films, photographs, paintings—all of these can have artistic value. Of course, films, photographs and paintings can also be pornographic. If some photographs have artistic value, and some photographs are pornographic, can pornographic photographs have artistic value too? I argue that pornography may only possess artistic value despite, not by virtue of, its pornographic content.

This chapter explores the tentative line between erotic spectacle and horror; a judgement that is problematic given that is based on an axis of moral or ideological normality. The contexts of viewing impact on the status of ‘obscene’ images, both in terms of the communities that view them and their motivation for viewing; for sexual arousal, out of morbid curiosity or malevolence, or perhaps all three simultaneously. The reception of an obscene image is largely based upon the issue of viewer (...) consent, but this itself comes at the expense of the reality of bodies depicted, that are pushed to (and beyond) their limits. The chapter examines the moral and philosophical implications of desires that place the body in extreme states of sexualized deconstruction - both real and faked – and how these apply to images and communities in cyberspace. (shrink)

How would you feel about your husband, wife, or partner masturbating using pornography or erotica? For many, this would be a betrayal – a kind of cheating. I explore whether monogamous relationships should forbid solo masturbation using erotica and pornography, considering two possible objections: (1) the objection that such activity is a kind of infidelity; (2) the objection that such activity involves attitudes, usually attitudes towards women that are incompatible with an equal, loving relationship. I argue that the use of (...) erotic material in solo masturbation should not count as cheating. Solo use of pornography differs significantly from interpersonal sexual activity. Thus, unlike causal interpersonal sex, it does not undermine the role of sex within the relationship. Additionally, freedom to explore sexual fantasy through masturbation is an important element of sexual autonomy. Objection (2) holds against some but not all erotic material. Sexual enjoyment of pornography that depicts, or is produced by, suffering or degradation involves a way of seeing others that has implications for the user’s relationships with others, particularly sexual relationships. However, not all erotic material involves objectionable attitudes towards others. Thus partners should allow moderate use of some types of erotica in solo-masturbation. (shrink)

This article explores the various ethical and legal limitations faced by researchers studying extreme or ‘ shock’ pornographies, beginning with generic and disciplinary contexts, and focusing specifically upon the assumption that textual analysis unproblematically justifies certain pornographies, while legal contexts utilize a prohibitive gaze. Are our academic freedoms of speech endangered by legislations that restrict our access to non-mainstream images, forcing them further into taboo locales? If so, is the ideological normalization of sexuality inextricable from our research methodologies? Simultaneously, can (...) we justify researchers being allowed access to materials that are not deemed suitable for general consumption, which may further bolster normalized hierarchies of class-privilege and cultural capital? (shrink)

This paper provides an in-depth review of Jerrold Levinson’s most recent work in aesthetics, focusing especially on his account of the incompatibility of art and pornography. The author argues that this account does not fit well with Levinson’s own intentional-historical definition of art and his Wollheimian account of depiction.

Claims that pornography cannot be art typically depend on controversial claims about essential value differences (moral, aesthetic) between pornography and art. In this paper, I offer a value-neutral exclusionary claim, showing pornography to be descriptively at odds with art. I then show how my view is an improvement on similar claims made by Jerrold Levinson. Finally I draw parallels between art and pornography and art and advertising as well as show that my view is consistent with our typical usage of (...) the term “pornographic art.”. (shrink)

Jennifer Saul has argued that the speech acts approach to pornography, where pornography has the illocutionary force of subordinating women, is undermined by that very approach: if pornographic works are speech acts, they must be utterances in contexts; and if we take contexts seriously, it follows that only some pornographic viewings subordinate women. In an effort to defend the speech acts approach, Claudia Bianchi argues that Saul focuses on the wrong context to fix pornography’s illocutionary force. In response, I defend (...) Saul arguing that Bianchi doesn’t show Saul has focused on the wrong context. (shrink)

Recently, several philosophers have recast feminist arguments against pornography in terms of Speech Act Theory. In particular, they have considered the ways in which the illocutionary force of pornographic speech serves to set the conventions of sexual discourse while simultaneously silencing the speech of women, especially during unwanted sexual encounters. Yet, this raises serious questions as to how pornographers could (i) be authorities in the language game of sex, and (ii) set the conventions for sexual discourse - questions which these (...) speech act-theoretic arguments against pornography have thus far failed to adequately answer. I fill in this gap of the argumentation by demonstrating that there are fairly weak standards for who counts as an authority or convention-setter in sexual discourse. With this analysis of the underpinnings of a speech act analysis of pornography in mind, I discuss a range of possible objections. I conclude that (i) the endorsement of censorship by a speech act analysis of pornography competes with its commitment to the conventionality of speech acts, and, more damningly, that (ii), recasting anti-pornography arguments in terms of linguistic conventions risks an unwitting defence of a rapist's lack of mens rea - an intolerable result; and yet resisting this conclusion requires that one back away from the original claim to women's voices being 'silenced'. (shrink)

A review of Loose Women, Lecherous Men, by Linda LeMoncheck.

Derogatory terms (racist, sexist, ethnic epithets) have long played various roles and achieved diverse ends in works of art. Focusing on basic aspects of an aesthetic object or work, this article examines the interpretive relation between point of view and content, asking how aesthetic contextualization shapes the impact of such terms. Can context, particularly aesthetic contexts, detach the derogatory force from powerful epithets and racist and sexist images? What would it be about aesthetic contexts that would make this possible? The (...) article puts into aesthetic contexts both Absolutist and Reclaimer views about the power of derogatory terms, applying an inferential role semantics, developed for language, to both words and images. The Reclaimer’s position, that derogation is a matter of pragmatics, of use, emphasizes the context-sensitivity of the term, that is matters who says it, to whom, when, where, and why. Understanding derogatory terms used as hate speech helps to make this position clear. The Absolutist’s position, that no contextual variations can detach the derogation from these deeply derogatory terms, is developed here through attention to subordinating images in pornography. The article argues that art may be able to achieve the deviant interpretations that the Reclaimer needs to undermine the derogations while maintaining sensitivity and awareness of the history of oppression. (shrink)

Making sense of MacKinnon’s claim that pornography silences women requires attention to the discursive and interpretive frameworks that pornography establishes and promotes. Treating pornography as a form of hate speech is promising, but also limited. A close examination of a legal case, in which pornographic images were used to sexually harass, focuses on the hate speech analogy while illustrating the broad and lasting impact of such depictions when targeted at an individual. Applying the distinction between Absolutist and Reclaimer approaches to (...) hate speech and derogatory terms, the article concludes with a discussion of the possibility of creative development of discursive practices within a context that undermines the semantic authority of members of certain groups. (shrink)