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Pornography, Spectatorship, and Sex Education in the Vcr Era

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Pornography, Spectatorship, and Sex Education in the Vcr Era PORNOGRAPHY, SPECTATORSHIP, AND SEX EDUCATION IN THE VCR ERA by INGRID RACHEL OLSON B.A., The University of Toronto, 2008 M.A., Wilfrid Laurier University, 2010 A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Cross-Faculty Inquiry in Education) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) September 2018 © Ingrid Rachel Olson, 2018 The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, the dissertation entitled: Pornography, spectatorship, and sex education in the VCR era Submitted by Ingrid Rachel Olson in partial fulfillment of the requirements the degree of Doctor of Philosophy in Cross-Faculty Inquiry in Education Examining Committee: Carl Leggo, Language & Literacy Education Co-supervisor Scott Anderson, Philosophy Co-supervisor Claudia Ruitenberg, Department of Educational Studies Supervisory Committee Member Karen Meyer, Department of Curriculum & Pedagogy University Examiner William Pinar, Department of Curriculum & Pedagogy University Examiner Constance Penley, Film & Media Studies, University of California – Santa Barbara External Examiner ii Abstract Contemporary pornography studies focus largely on issues pertaining to the accessible, ubiquitous reality of portable, digital, Internet technology. What is lacking in examinations of the relationship between pornography and the industry’s uptake of media technologies is the significance of the technological advance of the videocassette recorder / player (VCR). In this dissertation I claim that video technology, particularly its ability to control the viewing of moving-image pornography, and the opportunity for private viewing, fundamentally changed the spectator’s engagement with pornography. Furthermore, the spectator’s engagement with and consideration of pornography via video technology can be understood as a kind of adult sex education. The movement of pornography spectatorship from the public adult theatre (Delany, 1999) to private home entertainment was revolutionary. Video technology provided the pornography viewer with the first opportunity to pause, watch in slow-motion, rewind, and re-watch, numerous times, sexual scenes of particular interest (Melendez, 2004). This level of control over spectatorship exceeds live theatre, cinema, or television. Moreover, the spectator’s control permits a personalized study of explicit sexual practices. As foundational pornography theorist Linda Williams (2014) observes, there is little research on pornography’s viewers. The epicentre of this dissertation is a reading of the cumulative fan mail archive of legendary pornography star Nina Hartley. Hartley’s first video was released in 1984, concurrent with the rapid expansion of video pornography production and distribution (Greenberg, 2008; O’Toole, 1998; Williams, 1989). The Hartley fan archive contains over 15 years of fan mail, artwork, and ephemera. Hartley established the Nina iii Hartley Fan Club in 1985 and, despite advances in digital technologies, she received postal mail into the 21st-century. Personal letters can provide a window to the author’s curiosities, desires, fantasies, knowledge, practices, and questions regarding sexuality (Almond and Baggott, 2006; Garlinger, 2005). Selections from Hartley’s fan archive articulate what adult sex education the viewer garnered from pornography regarding explicit representations of sexual practices, gender, and bodies. Pornography can be interpreted as the speaking of sex. This dissertation suggests that, while pornography can be understood as making sex speak, the letters of the Hartley archive represent the speaking of sex. iv Lay Summary The epicentre of this dissertation is based on a reading of the cumulative fan mail archive of legendary pornography star, Nina Hartley. This dissertation suggests that, while pornography can be understood as making sex speak, the letters of the Hartley archive represent the speaking of sex. Hartley’s first video was released in 1984, concurrent with the rapid expansion of video pornography production and distribution. What is lacking in examinations of the relationship between pornography and the industry’s uptake of media technologies is the significance of the technological advance of the videocassette recorder / player (VCR). This dissertation claims that video technology, particularly its ability to control the viewing of moving-image pornography, and the opportunity for private viewing, fundamentally changed the spectator’s engagement with pornography. Furthermore, the spectator’s engagement with and consideration of pornography via video technology can be understood as a kind of adult sex education. v Preface This dissertation is an original, unpublished, intellectual work by myself, the author, I. Olson. The text of the dissertation has been revised through the supervision of my committee. The data for this research came from material in an archive of personal correspondence. The owner of the correspondence and the directors of the non-profit organization where the archive is located approved the use of the material for this dissertation. The archive research was conducted independently by myself. Ethics approval was not required for the research. Versions of Chapters 4 and 6. A version of this material has been accepted for publication as Olson, I. (forthcoming, 2018). Letters to Nina Hartley: Pornography, parrhesia, and sexual confessions. In T. Waugh and B. Arroyo (Eds.), I confess: An anthology of original essays on constructing the sexual self in contemporary moving image art, media and culture. Kingston, ON: McGill-Queen’s University Press. I conducted all the research and wrote the manuscript. The work includes three digital photographs of personal correspondence from the research archive taken by the author as part of the archive research for the dissertation. The letters have been digitally anonymized; no biographical information is included. vi Table of Contents Abstract ............................................................................................................................... iii Lay Summary ....................................................................................................................... v Preface ................................................................................................................................. vi Table of Contents ............................................................................................................... vii Acknowledgements .............................................................................................................. x Dedication ........................................................................................................................... xi Chapter 1: Introduction ............................................................................................................ 1 Diderot, and The Indiscreet Jewels ...................................................................................... 1 Research Project and Questions ........................................................................................... 8 Anti-Pornography Activism, Legislation, and Pornography Spectatorship .................... 14 Nina Hartley ....................................................................................................................... 23 Research Project ................................................................................................................. 27 Letters to a Porn Star .......................................................................................................... 30 Nina Hartley on her Fans and her Fan Mail ....................................................................... 37 Pornography in the Videotape Era ..................................................................................... 41 Pornography as Adult Sex Education ................................................................................. 43 ‘Pornography,’ ‘Obscene,’ and Obscenity Landmarks ...................................................... 49 ‘Pornography.’ ................................................................................................................ 49 ‘Obscene’ / ‘Onscene.’ ................................................................................................... 51 US Obscenity Landmarks. .............................................................................................. 53 Stanley v. Georgia 394 U.S. 557 (1969). ....................................................................... 53 Chapter 2: Methodology and Theory ..................................................................................... 57 Epistolarity ......................................................................................................................... 57 Diderot and his Contemporaries ........................................................................................ 65 Diderot ................................................................................................................................ 67 Letters as an Object of Research ........................................................................................ 72 Spectatorship ...................................................................................................................... 75 Address and Reception ..................................................................................................
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