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FEATURES west are not so great; and ARTS A WOMAN'S WORK IS suggests that we concentrate FEMINIST UNDER VIEW: NEVER FUN: MILITARY MONEY on the common plight of Barbara Halpern Martineau Housewives in Flin Flon, MYTHS: women, not the ideological tells a tale of two films seen Manitoba tell it like it is; Is military spending good for differences between coun• at Toronto's Festival of meanwhile feminists get on the economy? Chris tries. Page 4. Festivals in September: P4W: with the hard task of recon• Lawrence debunks some Prison for Women by Holly ciling Marxist theory to the myths, picks apart the logic Dale and Janis Cole, and the reality of housework. of government justification COMMENT NFB's Not a Love Story: A Mariana Valverde reviews for Canada's role in the ar• Film About Pornography, two books: Meg Luxton's maments industry, clarifies LETTER RIP: and draws a connection be• More Than a Labour of our dependency on the US Broadside readers respond to tween the common isolation Love and Bonnie Fox's an• military-industrial complex, articles and to each other in and imprisonment of women thology Hidden in the and asks where will it all the 'Letters' section: Linda in both worlds. Page 12. Household, Page 14. end? Page 8. Ackroyd on a Globe and Mail review of Not a Love FROM RUSSIA WITH Story; Lucie Pepin, president LOVE: of the Advisory Council on MM the Status of Women, to Vic• Dorothy Livesay visits the W, USSR, talks with women toria's Status of Women Ac• about living conditions, tion Group; Gay Bell of Pink family life, pay, rape, vasec• Triangle Tears to a July 1981 Bill mm il ii III Hi lliw tomies; finds that the dif• Broadside review; and more. ferences between east and Page 2. ™_ . SI m page iwo Broadside: 3) I was one of the many who "dribbled" Broadside: course, she was not wearing underwear and out of Cris Williamson's concert before the when the Hustler photos were taken, her In case you'd like to know why I'm sub• end. I was shocked by her sexist songs, lack The following letter was sent to the Globe & skirt was raised above her waist. But more scribing to Broadside, it was your June 1981 of professionalism, and unkindness to the Mail on September 15, but not published. importantly, she was "sitting" spread- issue, specifically: many women gathered who had found hope eagled, with the point of a four-foot sword 1) Finally, I've heard a woman (women) in her music. If Cris feels misunderstood I I saw the NFB movie Not a Love Story: at her genitals. voice the truth about the Pope. Everyone can sympathize. However, much trouble A Film About Pornography and hardly re• seems to overlook the fact that his "kind• would have been saved if she had an• cognized it as the one Jay Scott reviewed For questioning the role of this kind of ness" is killing women, body/soul, all over nounced her views at the beginning of the last week (September 7, 1981) in the Globe material (and this is not the roughest, by this earth. Thank you for not being si• concert. I, for one, would have politely ask• and Mail. The film is a highly personal one, far), the film is accused of a "whining lenced. ed for my money back and would have left presenting mainly through interviews (with naivete", "Puritan prejudice" and "bour• 2) I had tickets for Adrienne Rich and quietly. both women and men) the views of people geois feminist fascism". It is only harmless Nicole Brossard ('Writers in Dialogue' Thank you for allowing women the space involved in the pornographic magazine and "fantasy", which the film-makers are try• May, 1981) but missed the dialogue because to voice their feelings. For me, Cris Wil• film trades, and of those who have written ing to "censor". In taking this view, Scott I had to leave Toronto unexpectedly that liamson's concert strengthened my own re• and talked on the subject. Scott's review is typical of the so-called liberals who week. I am glad you .gave good coverage to solve as a feminist, and taught me a few prepared me for an anti-male diatribe. equate anti-female propaganda of the Hust• their views. more traps a strong woman should be care• What I got instead was people trying to ler type with healthy openness about sexual• ful to avoid. figure out the effects of pornography on ity, and questioning of it with repression, men and women and on their relationship lack of sophistication, and political conser• Margaret Hecimovich with one another. vatism. We are expected to support or at Toronto least ignore the humiliation of certain peo• jÉÉÉÉÉÉMÉÉÉÉJi Some of the images used as examples in ple (mostly women) because it allegedly the film are sickening or frightening or provides an outlet or safety valve for the both, but none of them are made up. They otherwise inexpressible desires of other peo• EDITORIAL Broadside: are the real thing, and you can find some of ple — including the desire to dominate (by Philinda Masters, Editor them in your local milk store (although you violence if necessary) or be submitted to. Judith Lawrence, Photography Enclosed is a cheque for two gift subs. may, like me, have trained yourself not to Now just who is repressed here? Broadside gets better and better! I par• Jean Wilson, Books look at them). ticularly enjoyed the dialogue with Barbara Halpern Martineau, Films Adrienne Rich (June, 1981). The question A final point. Scott scoffs at the "white Your reviewer misrepresents the film to of women's issues as universal and how middle-class women" who made the film. the point of absurdity. To cite just one ex• PRODUCTION seriously we take our feminist politics is We know (from the U.S. Commission on ample, we are invited to mock the squeam- Philinda Masters, Co-ordinator critical. Obscenity and Pornography) that the ishness of the photographic model who is At our peril do we allow history to repeat consumers of pornography (a very lucrative Moira Armour depressed after spending an afternoon itself by permitting the women's movement business, by the way) are predominantly Beatrice Bailey merely "sitting on a table without wearing to be superseded or displaced or diluted by white middle-class men. So who has a better clothes". This euphemistic description Anna Hoad the "greater good," however defined by right, not to mention a greater responsibili• makes the scene in question (where others. Woman need to make feminism the ty, to react publicly to it than representa• Dana Janssen photographs for Hustler magazine were priority — no one else will. tives of the very women who love and live Elaine Johnson taken) sound like an art school class in life with those men? drawing. As a matter of fact, the model was Anne Leitch Helen Levine wearing clothes the whole time (as the pic• Linda Ackroyd Catherine Maunsell School of Social Work, Carleton University ture accompanying the review shows). Of Toronto Deena Rasky Ottawa DISTRIBUTION Beverley Allinson, Co-ordinator Elaine Berns Gina Jones Chris Lawrence EDITORIALS Kye Marshall Susan Power Carol Rowe Beth Traynor CIRCULATION Censored Across the Board Eve Zaremba, Co-ordinator The Censor Board of Ontario should get outrageous content, played Cinema 2000 in ing industry on the continent, to encourage Helen Lenskyj its priorities straight. The National Film Toronto a few years ago, and still the en• women and men to cry out against the cam• Flora Macquarrie Board's movie entitled Not a Love Story trepreneurs extracted their profits on the paign and to express their rage at the de• sought to expose the pornography industry strength of advertisements that gleefully basement of women? for what it is: an array of hate literature and celebrated violence against women, only The Board of Censors doesn't seem to ADVERTISING propaganda that relentlessly campaigns for parts of which were censored from the know the difference, and an important Ottie Lockey, Co-ordinator the ongoing putdown of women. The film• movie. But Not a Love Story, without its statement about pornography was seen by Judy Stanleigh makers wanted to present the most compel• crucial footage cannot make its point. only a few hundred people. The decision is ling images, and did so using hard core The events surrounding the NFB film, a typically liberal one: the application of a foe rage and film shot on New York's infa• guideline across the board. At least no one FINANCIAL/LEGAL compared with the experience of the pro• mous n.oS St ret t. ducers of Snuff show the bankruptcy of the can accuse the Censor of bias. We can ac• Jane Hastings, Co-ordinator \.-J „fi£Oi Bofrd allowed only one spec- Censor's values. The sight of genitalia per cuse the Board of being hung up on its ar• ^1 s»iovin<_ of the tiim and denied a request se is not the issue, but the way in which the bitrary guidelines while remaining heedless of the real malaise in our culture. ' h t y c*»r>d saowt.u. diguing that, the film image is used is. Is it being used to keep women down? Are women's genitalia being COLLECTIVE MEMBERS: \ ^ > ~ rifxlvt censorship guidelines. 1 r invaded by fire pokers so that the viewer (Editor's note: Broadside's centrespread in Beverley Allinson., Susan G, Cole, "j> - ~ c v]jj,in on in question is i ' i ^' i_»-al close-ups of geni- can get off? Is the image being used to the November issue will focus on the sub• Jane Hastings, Judith Lawrence, 4~ « • * tG'r&y ot penetration cannot lionize the power men have over women? ject of pornography.

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