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A Mixed Methods Study of Internet Pornography, Masculinity
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Public Access Theses and Dissertations from the Education and Human Sciences, College of (CEHS) College of Education and Human Sciences Fall 10-26-2018 "I imagine the male isn't in the video and it is me:" A Mixed Methods Study of Internet Pornography, Masculinity, and Sexual Aggression in Emerging Adulthood Christina Richardson University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/cehsdiss Part of the Counseling Psychology Commons, and the Gender and Sexuality Commons Richardson, Christina, ""I imagine the male isn't in the video and it is me:" A Mixed Methods Study of Internet Pornography, Masculinity, and Sexual Aggression in Emerging Adulthood" (2018). Public Access Theses and Dissertations from the College of Education and Human Sciences. 328. http://digitalcommons.unl.edu/cehsdiss/328 This Article is brought to you for free and open access by the Education and Human Sciences, College of (CEHS) at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Public Access Theses and Dissertations from the College of Education and Human Sciences by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. “I IMAGINE THE MALE ISN’T IN THE VIDEO AND IT IS ME:” A MIXED METHODS STUDY OF INTERNET PORNOGRAPHY, MASCULINITY, AND SEXUAL AGGRESSION IN EMERGING ADULTHOOD by Christina Richardson A DISSERTATION Presented to the Faculty of The Graduate College at the University of Nebraska-Lincoln In Partial Fulfillment of Requirements For the Degree of Doctor of Philosophy Major: Educational Psychology (Counseling Psychology) Under the Supervision of Professor M. -
Stockholm Cinema Studies 11
ACTA UNIVERSITATIS STOCKHOLMIENSIS Stockholm Cinema Studies 11 Imagining Safe Space The Politics of Queer, Feminist and Lesbian Pornography Ingrid Ryberg This is a print on demand publication distributed by Stockholm University Library www.sub.su.se First issue printed by US-AB 2012 ©Ingrid Ryberg and Acta Universitatis Stockholmiensis 2012 ISSN 1653-4859 ISBN 978-91-86071-83-7 Publisher: Acta Universitatis Stockholmiensis, Stockholm Distributor: Stockholm University Library, Sweden Printed 2012 by US-AB Cover image: Still from Phone Fuck (Ingrid Ryberg, 2009) Contents 1. Introduction ................................................................................................... 13 Research aims and questions .................................................................................... 13 Queer, feminist and lesbian porn film culture: central debates.................................... 19 Feminism and/vs. pornography ............................................................................. 20 What is queer, feminist and lesbian pornography?................................................ 25 The sexualized public sphere................................................................................ 27 Interpretive community as a key concept and theoretical framework.......................... 30 Spectatorial practices and historical context.......................................................... 33 Porn studies .......................................................................................................... 35 Embodied -
Participatory Porn Culture Feminist Positions and Oppositions in the Internet Pornosphere Allegra W
from Paul G. Nixon and Isabel K. Düsterhöft (Eds.) Sex in the Digital Age. New York: Rougledge, 2018. CHAPTER 2 Participatory porn culture Feminist positions and oppositions in the internet pornosphere Allegra W. Smith Introductions: pornography, feminisms, and ongoing debate Though first-wave feminists had engaged in debate and advocacy surrounding sexual knowledge and obscenity since the late-19th century (Horowitz, 2003), American advocates did not begin to address pornography as a feminist concern until the 1970s, ostensibly beginning with the formation of the activist group Women Against Violence in Pornography and Media (WAVPM) in 1978. WAVPM was a reactionary response to the mainstreaming of hardcore pornography in the wake of American sexual liberation, which many second wave feminists claimed “…encouraged rape and other acts of violence, threatening women’s safety and establishing a climate of terror that silenced women and perpetuated their oppression… [thus helping] create and maintain women’s subordinate status” (Bronstein, 2011, pp. 178–179). The resulting “porn wars” (or, more broadly, “sex wars”) of the 1980s and 1990s polarized second- and third-wave feminists into two camps: (1) anti-porn feminists, such as writer Andrea Dworkin (1981) and legal scholar Catharine MacKinnon (1984), who opposed the creation and distribution of pornographic images and videos on moral and political grounds; and (2) pro-porn or sex-positive feminists, such as anthropologist Gayle Rubin and feminist pornographer Candida Royalle, who advocated for freedom of sexual expression and representation. The rhetoric surrounding the social and cultural ills perpetuated by pornography was duly acrimonious, with one prominent feminist writing, “pornography is the theory, rape is the practice” (Morgan, 1978, p. -
Digital Infringements and the Responsibility of Digital Platforms
COPENHAGEN BUSINESS SCHOOL Digital Infringements and the Responsibility of Digital Platforms by Christian Skettrup A master’s thesis written for the degree of Master of Business Administration and E-business Student ID: 117547 – Character count: 145.888 Supervisor: Nanna Bonde Thylstrup 15.05.2020 1 Abstract Private companies with digital platforms such as Facebook, are using discursive work and strategical positioning to situate themselves in a favorable position in the eyes of their users, advertisers, legislators and the general public. Despite repeatedly facilitating the distribution of some of the worst content that humanity has to offer, the society fails to hold them responsible for their part in the illegal activities. This is partly because most digital platforms are surrounded by a legal framework that exempt them from legal liability when their users conduct illegal activity, and partly because of secretive and opaque practices that makes it difficult to decipher the dynamics of commercial content moderation. With a grounded theory approach, this paper will show how digital platforms are not just neutral technological intermediaries that exist in a vacuum, but rather socio-technical objects that exist in complex political, economical and technological environments, from where they afford their users certain things. In practice they gain a quasi-legislative role, from which they can shape their users’ ability to exercise their fundamental rights. The Umbrella case provides a rare glimpse into the opaque and secretive regulation and moderation practices conducted by Facebook. Practices that makes it possible for digital platforms to implement their self-defined regulation through technical measures. 2 Contents Abstract ............................................................................................................................................................ -
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OUP UNCORRECTED PROOF – FIRSTPROOFS, Mon Nov 07 2016, NEWGEN 199 View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by PhilPapers CHAPTER 10 Falling in Lust Sexiness, Feminism, and Pornography Hans Maes 10.1. Introduction Caffeine makes you sexy! This absurd slogan can be seen in the shop win- dows of a popular Brussels coffee chain— its bold pink lettering indicat- ing how they are mainly targeting female customers. It is one of the silli- est examples of something that is both very common and very worrisome nowadays, namely, the constant call on women to look “hot” and conform to the standards of sexiness as they are projected in the media, entertain- ment industry, and advertising. But what exactly is wrong with this state of affairs and what can be done about it? In a recent essay entitled “Sex Objects and Sexy Subjects” Sheila Lintott and Sherri Irvin (2016) take up this pressing issue and make an elaborate case for what they call a “feminist reclamation” of sexiness. In what follows, we will investigate the merits and shortcomings of their proposal (Sections 10.2 and 10.3), present an alternative account (Section 10.4), and conclude by considering how pornography may be part of the problem but also part of the solution in this matter (Sections 10.5 and 10.6). 10.2. A Critique of Sexiness According to Lintott and Irvin (L&I) there are two problems with sexi- ness today. The frst is that women are considered sexy in accordance with an externally dictated conception of sexiness. -
Revenge Pornº: an Evaluation of the Elements That Make an Effective Nonconsensual Pornography Statute
DECONSTRUCTING THE STATUTORY LANDSCAPE OF ªREVENGE PORNº: AN EVALUATION OF THE ELEMENTS THAT MAKE AN EFFECTIVE NONCONSENSUAL PORNOGRAPHY STATUTE Jonathan S. Sales and Jessica A. Magaldi* INTRODUCTION Changes in social mores and technology have yielded the phenomenon of sext- ing, which includes the capturing and forwarding of intimate images through the Internet.1 Research reveals that nearly ®fty percent of adults in the United States have sent or received intimate digital content. 2 At the same time, the con¯uence of these changes has spawned new violations of privacy and predatory actions when these images are made available on the Internet without the subject's consent.3 The re-distribution or dissemination of these intimate images without the consent of the subject and without a legitimate purpose (such as a law enforcement investigation) is referred to as nonconsensual pornography (ªNCPº). 4 NCP has caused victims to suffer substantial harm.5 In some cases, NCP inci- dents have precipitated a victim's suicide.6 Prior generations might have concluded that a person who allowed such images to be captured and placed in the possession of another person assumed the risk of re-distribution; in essence, a negligence, recklessness, or constructive consent argument. In contrast, in the twenty-®rst cen- tury, capturing or sharing of intimate images is often regarded as an acceptable * Jonathan S. Sales, J.D., Northeastern University School of Law, Lecturer, Bentley University; Jessica A. Magaldi, J.D., New York University School of Law, Associate Professor, Pace University. The authors gratefully acknowledge the research support of Clifton M. Chow, Ph.D., Research Consultant at Bentley University; Peng Zhang and Piotr Kolodzie, Graduate Assistants at Bentley University; and Primrose Zvinavashe, LL.B, LL.M, Graduate Assistant at Pace University. -
A Critical Case Study on Pornography 2.0
‘‘I’ll bet I’m having more fun than you are.” A critical case study on pornography 2.0 Asher Boersma Master Thesis Film and Television Studies, Utrecht University Supervisor: prof. dr. Frank Kessler Cohort February 2006-2007 / August 29, 2008 17.814 words main body / 22.651 words total honey, close the curtains. Contents Acknowledgements 3 0. Introduction 4 . Key concepts 6 . Metaphors, myths and discourse 6 .. Web 2.0 6 ..2 Pornography 2.0 7 .2 Theory of pornography 9 .2. The early years of the discourse 0 .2.2 Problematic binary .2.3 Porn Studies 2 .2.4 Narrative sets the tone 3 .2.5 Internet and pornography 4 .3 The case 7 .4 Method 8 2. Case study 20 2. Representation versus real? 20 2.. Shady divide 2 2.2 Discerned and yet connected 24 2.2. Continuity 24 2.2.2 Home is where... 26 2.2.3 Money shot 29 2.2.4 Female solo performance 30 2.2.5 Division of labour 33 2.3 A long story short 34 3. Conclusion 36 Works cited 38 Websites 42 Audiovisual 43 3 Acknowledgements I am indebted to Prof. Dr. Frank Kessler for critical guidance and to Joost Broeren, MPhil, and Henry Allen for unstinting feedback. Furthermore, the love and support from Florence, friends, and family were imperative – thank you. 0. Introduction A great sexual sermon – which has had its subtle theologians and its popular voices – has swept through our societies over the last decades; it has chastised the old order, denounced hypocrisy, and praised the rights of the immediate and the real; it has made people dream of a New City. -
Confronting Pornography: Some Conceptual Basics Rebecca Whisnant University of Dayton, [email protected]
University of Dayton eCommons Philosophy Faculty Publications Department of Philosophy 2004 Confronting Pornography: Some Conceptual Basics Rebecca Whisnant University of Dayton, [email protected] Follow this and additional works at: http://ecommons.udayton.edu/phl_fac_pub Part of the Other Feminist, Gender, and Sexuality Studies Commons, Philosophy Commons, and the Women's Studies Commons eCommons Citation Whisnant, Rebecca, "Confronting Pornography: Some Conceptual Basics" (2004). Philosophy Faculty Publications. 167. http://ecommons.udayton.edu/phl_fac_pub/167 This Book Chapter is brought to you for free and open access by the Department of Philosophy at eCommons. It has been accepted for inclusion in Philosophy Faculty Publications by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Rebecca Whisnant Confronting pornography: Some conceptual basics Porn takes over There can be no doubt, at this moment in history, that pornography is a truly massive industry saturating the human community. According to one set of numbers, the US porn industry's revenue went from $7 million in 1972 to $8 billion in 1996 ... and then to $12 billion in 2000.1 Now I'm no economist, and I understand about inflation, but even so, it seems to me that a thousand fold increase in a particular industry's revenue within 25 years is something that any thinking person has to come to grips with. Something is happening in this culture, and no person's understanding of sexuality or experience of relationships can be unaffected. The technologies of pornography are ever more dynamic. Obviously, video porn was a huge step up from magazines and even from film. -
Generated Pornography: Amateurs and the Ambiguity of Authenticity
1 User-generated pornography: amateurs and the ambiguity of authenticity Susanna Paasonen When focusing on pornographic content generated by amateurs, pornography starts, to a degree, become undone as a point of reference, object of common-knowledge, topic of public debate, policy and regulation. Largely, albeit not completely detached from the framework of the porn industry as a perceived system of production and distribution, the developments and histories of amateur pornography remain ill documented. These cultural artefacts remain notably absent from publicly available media archives, yet enough traces of images, films and texts have remained to suggest that the amateur production has been both lively and multi-medial well before the rise of digital production and distribution, and so-called user generated porn. While some scholars identify DIY content especially with the affordances and specificities of network media (e.g. Jacobs 2007), such claims come with the risk of ahistorical generalization This chapter accounts for both the historical roots of amateur porn production across different media and the complexities that contemporary distribution of user-generated content involves. In order to chart some of the mundane histories and experiences connected to amateur practice, I draw on memory work material on pornography that my research group collected together with the Folklore Archives of the Finnish Literature Society in 2012.1 These recollections are helpful in mapping out both transformations and continuities in everyday encounters with pornography across decades as they have played out in one specific North European country in the course of drastic changes in media culture, technology and in the public visibility and regulation of sexual cultures alike. -
Bellomi Dissertation Formatted
UNIVERSITY OF CALIFORNIA Santa Barbara Darker and Darker Still: Media-Technology, Darkness Narratives, and Fear A Dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Comparative Literature by Jeffrey J. Bellomi Committee in charge: Professor Rita Raley, Chair Professor Colin Gardner Professor Wolf Kittler Professor Greg Siegel December 2019 The dissertation of Jeffrey J. Bellomi is approved. ________________________________________ Professor Colin Gardner ________________________________________ Professor Wolf Kittler ________________________________________ Professor Greg Siegel ________________________________________ Professor Rita Raley, Committee Chair October 2019 Darker and Darker Still: Media-Technology, Darkness Narratives, and Fear Copyright © 2019 by Jeffrey J. Bellomi iii ACKNOWLEDGEMENTS The long journey towards the completion of this dissertation could never have been completed without the unflagging support of my professional colleagues, mentors, friends, and family members, all for whom I am deeply grateful. Through the brilliant advising and support of my chair, Dr. Rita Raley, as well as that of the other members of my committee— Dr. Colin Gardner, Dr. Wolf Kittler, and Dr. Greg Siegel—this project reshaped itself and evolved beyond my earliest expectations into something of which I am truly proud. I dedicate this also to Dr. Catherine Nesci, whose professional and moral support served as a buoy amongst the shifting tides of research and writing. To my close friends and colleagues, Lacey Smith and Rachel Feldman: thank you for reminding me to laugh and stay grounded, as you both gave me a sense of home even when living far from it. To that end, none of my academic work could have existed without the efforts and sacrifices of my mother and aunt. -
Alternative Pornographies, Regulatory Fantasies and Resistance Politics
Alternative Pornographies, Regulatory Fantasies and Resistance Politics Zahra Zsuzsanna Stardust Bachelor of Arts (History) (University of Sydney) Bachelor of Laws (Hons) (University of Sydney) Master of Arts (Gender and Cultural Studies) (University of Sydney) Thesis submitted to fulfil requirements of a Doctor of Philosophy in the School of Arts and Media at the University of New South Wales. March 2019. Supervised by Professor Ramaswami Harindranath, Dr Daniel Joyce and Professor Kath Albury. 1 Contents Dissertation sheet ............................................................................................................................................ 5 Originality Statement ....................................................................................................................................... 6 Inclusion of Publications Statement .................................................................................................................. 7 Copyright and Authenticity Statement .............................................................................................................. 8 Abstract ........................................................................................................................................................... 9 Acknowledgements ........................................................................................................................................ 10 Relevant Publications and Presentations Arising from this Research .............................................................. -
The Celebrity Nude Photo Hack As Digital Phenomenon
Selected Papers of Internet Research 16: The 16th Annual Meeting of the Association of Internet Researchers Phoenix, AZ, USA / 21-24 October 2015 CASCADING EXPLOITATIONS: THE CELEBRITY NUDE PHOTO HACK AS DIGITAL PHENOMENON Caitlin E. Lawson University of Michigan Background On August 31, 2014, the Internet was abuzz after the release of hundreds of private nude photos of female celebrities. For months, a collective of hackers had worked to penetrate Apple’s iCloud storage, which automatically backs up photos from devices such as iPhones. However, iCloud does not lock users out after a number of incorrect login attempts, so the hackers guessed the usernames/email addresses and passwords of female celebrities until they were able to access the accounts. An anonymous self- proclaimed “collector” then acquired the photos and published them on social media sites such as AnonIB, 4chan and Reddit. From there, they quickly spread via various digital networks across the world. While the scandal was analyzed ad nauseum by media outlets, largely lost in the discussion was a sustained examination of the ways in which the affordances of digital media, and particularly social media, facilitated the incident. This essay examines the digital implications of the celebrity nude photo hack by analyzing three facets: its relation to the broader practices of hacking, the implications of the photographs’ circulation online through social media, and the photographs as a form of online pornography. Ultimately, the transcoding and online circulation of these nude and semi-nude images of women facilitated not only the exploitation of the celebrities but also the exploitation of the affordances of digital media.