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Indecent Detroit: Regulating Race, Sex, and Adult Entertainment, 1950-1975

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Indecent Detroit: Regulating Race, Sex, and Adult Entertainment, 1950-1975 Indecent Detroit: Regulating Race, Sex, and Adult Entertainment, 1950-1975 by Benjamin Strassfeld A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Screen Arts and Cultures) in the University of Michigan 2018 Doctoral Committee: Associate Professor Colin Gunckel, Chair Professor Emeritus Richard Abel Professor Matthew D. Lassiter Associate Professor Gayle S. Rubin Professor Eric Schaefer, Emerson College Denis Finley / The Detroit News Benjamin Strassfeld [email protected] ORCID iD: 0000-0002-9258-970X © Benjamin Strassfeld 2018 For Eema and Tatti ii ACKNOWLEDGMENTS When telling people about the topic of my dissertation, the question I most often get is whether I came to the University of Michigan with the idea of studying censorship in Detroit. The answer is an emphatic no. When I started my doctoral degree, I had a completely different topic in mind, one that I abandoned roughly ten minutes after getting to Ann Arbor. The dissertation you are now reading is the result of the influence of countless individuals deserving more thanks than this hastily-written acknowledgments page can possibly provide, but for now this will have to suffice. Any oversights are due to my poor memory and are unintentional. I must start by thanking the members of my dissertation committee, beginning with Richard Abel. It would be hard to overstate the degree to which I knew nothing about film and media studies nor academia as a whole when I was applying to PhD programs. Still, I knew enough to know who Richard Abel was, and thus I decided to apply here. From the first day I stepped on campus here Richard has been unfailingly supportive of my work. He has always managed the delicate task of graciously pointing me in a productive direction when my work has gone astray without ever imposing his view of what I should be doing. His dedication to continued scholarly endeavors and his humility even at this point in his career is something I will always try to emulate. Particular thanks as well goes to my dissertation committee chair, Colin Gunckel, who has helped steer my work these past few years. Colin never blinked an eye when I would disappear for six months, only to return and inform him that I had written a new chapter that we had never discussed and in fact had radically changed how I was envisioning the dissertation as a iii whole. Colin always gave me invaluable feedback on my work, and this dissertation would not exist in its current form without his guidance. Rounding out my committee were three outside members, Gayle Rubin, Eric Schaefer, and Matt Lassiter. I will forever be grateful to all three for taking an interest in the work of a graduate student working outside their home departments, or even home university. Eric has been unfailingly supportive of my work, providing feedback and guidance that has immeasurably shaped this project. Gayle mixes scholarly brilliance, unparalleled career accomplishments, and humility in one package, and she has never not been both forgiving of my follies and generous toward my work. Finally, it is only through Matt’s guidance across countless occasions of me appearing in his office that this project took the form it did, and he never failed to provide a beacon when I got lost in (what was for me) the uncharted seas of urban history. In dark moments these past few years, when I found myself questioning my project and my work, I often found myself thinking that if I somehow managed to assemble such an impossibly strong committee, I must be doing something right. I could not have imagined a better committee, and it has been an absolute pleasure to get to work with such brilliant, accomplished, and generous scholars. Long before coming to Michigan, my approach to film studies was shaped by the guidance of my undergraduate advisor at Brandeis University, Thomas Doherty. At the start of my final year, I had the idea to do a senior thesis on contemporary American independent cinema. Tom very gently suggested I go back and look at the history of independent cinema, further recommending that I try looking through microfilm to find some primary sources. The rest is (and has been ever since) history. iv Getting my M.A. in Cinema Studies at New York University, my approach was influenced by both the faculty—and in particular Dan Streible—as well as my incredible graduate cohort. My time at NYU made me begin to grapple with what it meant to be a scholar and a historian, and I will forever be indebted to everyone who made this period so impactful. Upon arriving at the University of Michigan, I had the good fortune of being paired up with Matthew Solomon as my faculty mentor. Matthew’s seemingly never-ending enthusiasm for learning and exploring new areas of film and media studies is something I will always admire and seek to emulate. In addition to helping guide my work as my mentor, as luck would have it the semester I took Matthew’s Film Theory course, he decided to add a new component to the syllabus dealing with mapping. It is entirely due to Matthew’s eagerness to continually grapple with new terrain in the field that I was introduced to the digital mapping that is now central to my work. It was through this early engagement with mapping that I got involved in a project spearheaded by Film Studies Librarian Phil Hallman focusing on mapping Detroit’s movie theaters. It was Phil who first got me thinking about Detroit, and this dissertation would not exist without his generosity when it came to encouraging and supporting my work. Our early co- conspirator on this project was Nicole Scholtz, who taught me literally everything I know about GIS. I would be remiss if I did not thank the faculty of Screen Arts. Coursework with Matthew Solomon, Giorgio Bertellini, Caryl Flinn, Johannes von Moltke, Richard Abel, and Yeidy Rivero, whether it appears directly in this dissertation or not, had a tremendous impact on my scholarly approach. Thanks as well to Dan Herbert, Mark Kligerman, and Sheila Murphy for all the informal hallway chats and support. The faculty of this department is second to none, and it v really was a privilege to get to study under and with such an esteemed collection of scholarly minds. I knew no one when I came to Ann Arbor, but was lucky enough to arrive here to a warm welcome from the graduate students of Screen Arts. Ever since, I have been lucky enough to enjoy getting to be both friends and colleagues with each and every graduate student in the department. Special thanks goes to Erin Hanna for being smart, funny, and sharing my aversion to most social interactions, to Mike Arnold for being a good friend regardless of whether we live a block from one another or are trying to score virtual goals on each other using cars, to Nathan Koob for all the movie dates and for hosting the best (and only) murder mystery party I have ever attended, to Katy Peplin for being the best friend and colleague I could have ever hoped for in my cohort, to Dimitri Pavlounis for letting me witness the majesty that is him doing karaoke and for being so damn huggable, and to Richard Mwakasege-Minaya for being a good friend all these years and more importantly for letting me win the one-on-one tournament. Particular thanks as well goes to Peter Alilunas, who gets the credit (or blame) for this dissertation’s engagement with porn studies. It was through countless occasions of me pestering Peter with questions about his work that I began to think about the intersections between my own scholarly interests and the history of pornography. Peter not only helped steer me to my topic, but he also made me up my game as a researcher, and getting to work together as both friends and colleagues has been (and I’ve no doubt will continue to be) a true pleasure. Research for this project would have been impossible without the help of countless individuals working in the library system at the University of Michigan, and particularly those at Hatcher Graduate Library, the Donald Hall Collection, the Buhr Shelving Facility, and the Bentley Historical Library. Special thanks to the wizards at Interlibrary Loan, who never failed vi to procure a request for me, even when it was the rarest and most hard-to-find material. The bulk of the research for this project was done at archives in Detroit, and in particular at the Burton Historical Collection at the Detroit Public Library and Walter P. Reuther Library at Wayne State University. Enormous thanks to the archivists at both those institutions, as well as those at the Detroit Historical Museum and the archives of the Archdiocese of Detroit. An immeasurable debt of gratitude is owed to all of my friends who made this project possible. Thanks in particular to Jesse Axelrod, who came up with what is probably my favorite thing in this dissertation, that being the title of chapter five, to Sarah Ketchen Lipson, who’s help and support enabled me to get through the early days of writing and researching this dissertation when I was like a salmon feebly trying to swim upstream, and to Jeremy Borovitz, Jeff Kaplan, and Eric Markowitz for being the best group of friends a guy could ever hope for. Finally, thank you to Joanna Barlow, who has stood by my side these past few years.
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