Aggression in Pornography
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Strategic Plan, a List of Important Kpis, a Line Budget, and a Timeline of the Project
Sierra Marling PRL 725 Come Together Campaign Table of Contents Executive Summary ................................................................................................................ 2 Transmittal Letter ................................................................................................................... 3 Background ........................................................................................................................... 4 Situation Analysis .................................................................................................................. 7 Stakeholders .......................................................................................................................... 8 SWOT Analysis ....................................................................................................................... 9 Plan ....................................................................................................................................... 12 Key Performance Indicators ................................................................................................... 17 Budget .................................................................................................................................. 20 Project Timeline (Gantt)......................................................................................................... 21 References ............................................................................................................................ -
Pornography, Morality, and Harm: Why Miller Should Survive Lawrence
File: 02-DIONNE-Revised.doc Created on: 3/12/2008 1:29 PM Last Printed: 3/12/2008 1:34 PM 2008] 611 PORNOGRAPHY, MORALITY, AND HARM: WHY MILLER SHOULD SURVIVE LAWRENCE Elizabeth Harmer Dionne∗ INTRODUCTION In 2003, a divided Supreme Court in Lawrence v. Texas1 declared that morality, absent third-party harm, is an insufficient basis for criminal legis- lation that restricts private, consensual sexual conduct.2 In a strongly worded dissent, Justice Scalia declared that this “called into question” state laws against obscenity (among others), as such laws are “based on moral choices.”3 Justice Scalia does not specifically reference Miller v. Califor- nia,4 the last case in which the Supreme Court directly addressed the issue of whether the government may suppress obscenity. However, if, as Justice Scalia suggests, obscenity laws have their primary basis in private morality, the governing case that permits such laws must countenance such a moral basis. The logical conclusion is that Lawrence calls Miller, which provides the legal test for determining obscenity, into question.5 ∗ John M. Olin Fellow in Law, Harvard Law School. Wellesley College (B.A.), University of Cambridge (M. Phil., Marshall Scholar), Stanford Law School (J.D.). The author thanks Professors Frederick Schauer, Thomas Grey, and Daryl Levinson for their helpful comments on this Article. She also thanks the editorial staff of GEORGE MASON LAW REVIEW for their able assistance in bringing this Article to fruition. 1 539 U.S. 558 (2003). 2 Id. at 571 (“The issue is whether the majority may use the power of the state to enforce these views on the whole society through operation of the criminal law. -
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. -
We Control It on Our End, and Now It's up to You" -- Exploitation, Empowerment, and Ethical Portrayals of the Pornography Industry Julie E
Student Publications Student Scholarship Spring 2017 "We control it on our end, and now it's up to you" -- Exploitation, Empowerment, and Ethical Portrayals of the Pornography Industry Julie E. Davin Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/student_scholarship Part of the Film and Media Studies Commons, Gender and Sexuality Commons, and the Other Feminist, Gender, and Sexuality Studies Commons Share feedback about the accessibility of this item. Davin, Julie E., ""We control it on our end, and now it's up to you" -- Exploitation, Empowerment, and Ethical Portrayals of the Pornography Industry" (2017). Student Publications. 543. https://cupola.gettysburg.edu/student_scholarship/543 This open access student research paper is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. "We control it on our end, and now it's up to you" -- Exploitation, Empowerment, and Ethical Portrayals of the Pornography Industry Abstract Documentaries about pornography are beginning to constitute an entirely new subgenre of film. Big Hollywood names like James Franco and Rashida Jones are jumping on the bandwagon, using their influence and resources to invest in a type of audiovisual knowledge production far less mainstream than that in which they usually participate. The films that have resulted from this new movement are undoubtedly persuasive, no matter which side of the debate over pornography these directors have respectively chosen to represent. Moreover, regardless of the side(s) that audience members may have taken in the so-called “feminist porn debates,” one cannot ignore the rhetorical strength of the arguments presented in a wide variety of documentaries about pornography. -
Belle Knox's Rhetorical Construction of Pornography and Feminism
Alter Egos / Alternative Rhetorics: Belle Knox's Rhetorical Construction of Pornography and Feminism By Copyright 2016 Emily Meredith Bosch Submitted to the graduate degree program in Communication Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Dr. Dave Tell ________________________________ Dr. Beth Innocenti ________________________________ Dr. Scott Harris Date Defended: July 14, 2016 ii The Thesis Committee for Emily Meredith Bosch certifies that this is the approved version of the following thesis: Alter Egos / Alternative Rhetorics: Belle Knox's Rhetorical Construction of Pornography and Feminism ________________________________ Chairperson Dr. Dave Tell Date approved: July 18, 2016 iii Abstract In early 2014, Miriam Weeks, more famously known as “the Duke Porn Star” was exposed for acting in pornography to pay her exorbitant Duke tuition bills. Throughout the media saga that followed her outing, Weeks defended her decision to act in pornography, arguing that it was a feminist affirmation of her sexual agency. However, Weeks’s defense of her pornography career is not monolithic, but rather, takes two distinct forms. The first form is characterized by structural or intersectional rhetoric, focused on the contextual factors that implicate the meaning of both pornography and feminism. Contrasting this rhetorical pattern is another that emerged in Weeks’s defense of pornography, characterized by neoliberalism. This rhetoric focused on the affirmation of individualism. Weeks’s neoliberal rhetoric constructed pornography as an openly- accessible option to solve economic shortcomings, regardless of the individual’s social location. Not only is pornography constructed neoliberally, feminism is also constructed neoliberally. -
Hot Girls Wanted Discussion Guide
www.influencefilmclub.com Hot Girls Wanted Discussion Guide Directors: Jill Bauer, Ronna Gradus Year: 2015 Time: 84 min You might know these directors from: Sexy Baby (2012) FILM SUMMARY Journalists Jill Bauer and Ronna Gradus met while working at “The Miami Herald,” and in their debut film, “Sexy Baby,” they address the effect the Internet has on female sexuality. Following this exposé, they set out to make a film on how men were handling the Internet’s depiction of sexuality. The more men they interviewed, the more the word “pro-am” was repeated. Men were clearly turned on by this professional-amateur field of Internet pornography, Bauer and Gradus began to turn their attention to the characters populating this trend. In HOT GIRLS WANTED, we are introduced to Stella May, Ava Taylor, Ava Kelly, Lucy Tyler, and Brooklyn Daniels, young women ranging from the ages of 18 to 25. Fresh off their first airplane ride, their first time in Miami they are feeling on top of their game. They feel the the world is at their feet and their future is bright. They trade in their given names, strip down in front of a camera, and perform scripted sex that often borders on abuse. For what? The promise of fame, money, and escape from the humdrum of daily life. “It’s a lot of money for a girl, so why not?” Brooklyn states. “It’s a boost of confidence to know that you’re wanted that much.” Raised in a world where a woman’s value is still largely based on appearance, Brooklyn reflects the innocence and insecurity behind these girls’ decisions. -
Is Mainstream Pornography Becoming Increasingly Violent and Do Viewers Prefer Violent Content?
The Journal of Sex Research ISSN: 0022-4499 (Print) 1559-8519 (Online) Journal homepage: http://www.tandfonline.com/loi/hjsr20 “Harder and Harder”? Is Mainstream Pornography Becoming Increasingly Violent and Do Viewers Prefer Violent Content? Eran Shor & Kimberly Seida To cite this article: Eran Shor & Kimberly Seida (2018): “Harder and Harder”? Is Mainstream Pornography Becoming Increasingly Violent and Do Viewers Prefer Violent Content?, The Journal of Sex Research, DOI: 10.1080/00224499.2018.1451476 To link to this article: https://doi.org/10.1080/00224499.2018.1451476 Published online: 18 Apr 2018. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=hjsr20 THE JOURNAL OF SEX RESEARCH,00(00), 1–13, 2018 Copyright © The Society for the Scientific Study of Sexuality ISSN: 0022-4499 print/1559-8519 online DOI: https://doi.org/10.1080/00224499.2018.1451476 “Harder and Harder”? Is Mainstream Pornography Becoming Increasingly Violent and Do Viewers Prefer Violent Content? Eran Shor and Kimberly Seida Department of Sociology, McGill University, Montreal, Quebec, Canada It is a common notion among many scholars and pundits that the pornography industry becomes “harder and harder” with every passing year. Some have suggested that porn viewers, who are mostly men, become desensitized to “soft” pornography, and producers are happy to generate videos that are more hard core, resulting in a growing demand for and supply of violent and degrading acts against women in mainstream pornographic videos. We examined this accepted wisdom by utilizing a sample of 269 popular videos uploaded to PornHub over the past decade. -
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. -
Consuming the Image: Hierarchies of Beauty and Power in Us Latino, Colombian, and Dominican Cultural Productions
University of Kentucky UKnowledge Theses and Dissertations--Hispanic Studies Hispanic Studies 2016 CONSUMING THE IMAGE: HIERARCHIES OF BEAUTY AND POWER IN US LATINO, COLOMBIAN, AND DOMINICAN CULTURAL PRODUCTIONS Angela Postigo University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.215 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Postigo, Angela, "CONSUMING THE IMAGE: HIERARCHIES OF BEAUTY AND POWER IN US LATINO, COLOMBIAN, AND DOMINICAN CULTURAL PRODUCTIONS" (2016). Theses and Dissertations--Hispanic Studies. 27. https://uknowledge.uky.edu/hisp_etds/27 This Doctoral Dissertation is brought to you for free and open access by the Hispanic Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Hispanic Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
Sexy Challenges – Sacred and Sensual Experiences for Lovers By
Sexy Challenges Sacred and Sensual Experiences for Lovers Rob Alex, M.Msc. Published by Inward Oasis First Original Edition, 2012 Copyright 2012 by Rob Alex M.Msc. Published by Inward Oasis All rights reserved. This book may not be reproduced in any form, in whole or in part (beyond that copying permitted by U.S. Copyright Law, Section 107, “fair use” in teaching or research, Section 108, certain library copying, or in published media by reviewers in limited excerpts), without written permission from the publisher. Publisher and Author Contact: [email protected] Cover Photo Credits: Cover Page Image Copyright Eky Chan – Fotolia.com Cover Image Copyright Vladgavriloff – Fotolia.com Table of Contents 1. Introduction 2. Abacus Of Love 3. Dirty Girl / Dirty Boy 4. The Date Is In The Mail 5. Body Builders Need Love, Too 6. More Than Finger Painting 7. De-Flower Me 8. Find My Nookie 9. Having a Ball With Sex 10. Amazing Orgasms 11. Time Change 12. Hippie Beads 13. Frozen Panties / Underwear 14. Sacrifice To The Gods Of Passion 15. Sexual Golf 16. Breast Cancer Awareness 17. Getting Intimate With A Ghost 18. In Specially Marked Packages 19. Human Vibrators 20. Rolling The Dice 21. Sexual Meditation 22. Making Love Uphill 23. Become The Warrior 24. Cleansing Ritua 25. Checking The Undercarriage 26. Change In The Weather 27. Sexy Shopping Spree 28. Super Soak-Her or Him 29. Position Tracker 30. Cell Phone Erotica 31. The Sexual Bucket List 32. Mixing It Up 33. Butter Up Your Love 34. Mummify Me 35. Confetti Kisses 36. -
Connolly .Indd
Matt Connolly Solidification and Flux on the “Gay White Way”: Gay Porn Theaters in Post-Stonewall New York City Abstract This paper traces the exhibition strategies of two gay porn theaters in New York City from 1969-1973: the 55th Street Playhouse and the Eros I. It draws upon contemporaneous advertising and trade press to reconstruct these histories, and does so in the pursuit of two interconnected goals. First, by analyzing two venues whose exhibition protocols shifted over the course of this time period, this paper seeks a more nuanced understanding of how gay porn theaters established, maintained, and augmented their market identities. Second, it attempts to use these shifts to consider more broadly what role exhibition practices played in the shaping of gay men’s experiences within the porn theater itself – a key site of spectatorial, erotic, and social engagement. The 1970s saw the proliferation of theaters in major my conclusions in some ways, but that will also urban centers specializing in the exhibition of gay provide the opportunity to investigate exhibition pornography.1 Buoyed by both seismic shifts in spaces within a city that is central to histories of both LGBT visibility in the wake of the 1969 Stonewall LGBT culture and pornographic exhibition.3 I will riots and larger trends in industry, law, and culture track two Manhattan theaters across this time period that increasingly brought pornography of all stripes to observe what films they screened and how they into the mainstream, these theaters provided a public advertised their releases: the 55th Street Playhouse venue for audiences of primarily gay men to view gay and the Eros I. -
The Golden Age of Porn: Nostalgia and History in Cinema Susanna Paasonen and Laura Saarenmaa
Pornification 19/7/07 10:56 am Page 23 –2– The Golden Age of Porn: Nostalgia and History in Cinema Susanna Paasonen and Laura Saarenmaa The mainstreaming of pornography is indebted to the success of feature-length hardcore films of the 1970s. Shot on 35 mm film, productions such as Deep Throat (1972), Behind the Green Door (1972), The Devil in Miss Jones (1973), The Opening of Misty Beethoven (1976) and Debbie Does Dallas (1978) were widely screened both in the USA and internationally. These films have since been estab- lished as classics (Buscombe 2004: 30) and milestones in both scholarly and popular porn historiographies. While some identify the so-called ‘golden age of porn’ through North American legislation and as ranging from 1957 from 1973 (Lane 2000: 22–3), it was in the 1970s and early 1980s that porn shifted towards the mainstream. In a trend titled by the New York Times as porno chic, pornography became fashionable, gained mainstream publicity and popularity (McNair 2002: 62–3; Schaefer 2004: 371; Wyatt 1999). During the past decade, this golden age has been reminisced in films such as People Vs. Larry Flynt (1996), Boogie Nights (1997) and Rated X (2000), numerous documentaries – including the critically acclaimed Inside Deep Throat (2005) – and books.1 This body of popular porn historiography depicts the decade as one of quality films with real stories, personal performers and talented directors, in contrast to the 1980s of video distribution, inflation of the porn industry, rise of AIDS and conservative backlash. With notable exceptions such as the French Le pornographe (2001) and the Spanish–Danish co-production Torremolinos 73 (2003), European histories have not been reminisced to the same degree.