Pornography and feminism have had quite an odd relationship. Feminist writers such as Gloria Steinem have denounced the sex industry while it has continued to expand exponentially. Due to technological advances such as the internet and cell phones, pornography is easier to access then ever before. Some publications even estimate that gross annual sales for pornographic videos would exceed four billion dollars (Rich 2011: 1). With this much money being invested into an industry that operates in a capitalistic society, it would be ignorant to hope that it would cease to exist. The truth is that pornography is not going anywhere. The issue that feminists from many different strains are debating is if porn is detrimental to women. And if so, how truly immoral is it? In this paper there will be an examination of how the two different radical-feminist theories have dealt with pornography while also discussing why the issue of pornography can be seen as such a confusing topic for feminists as a whole.
Pappas, Stephanie. (2010). The History of Pornography No More Prudish Than the Present. Web 13 Nov 2013.
A review of the contemporary research on the negative effects of pornography is replete of scholarly and anecdotal evidence and opinion about the damages associated with viewing it. But the evidence is limited when it comes to criticism of mainstream media’s damages to certain groups, particularly young women with their romantic comedies.
Quentin Tarantino has proven time and time again to be one of the most confusing directors to understand when attempting to unravel the personal ideologies in his films. Each of his films deals with race, sexuality, and gender to some extent, and it is often difficult to know whether or not Tarantino is making a commentary on these things or if he truly believes much of the problematic discourse found in his films. Kill Bill Vol. 1 and 2 are a testament to this understanding of Tarantino’s films, as they appear to be extremely feminist films at surface level yet, upon deeper inspection, have some very problematic qualities. Looking at Kill Bill Vol.’s 1 and 2 through both a feminist and anti feminist lens can allow the audience to better
 Since the 1950’s, a sexual revolution has spawned in America, accordingly downgrading previous anathemas in society, like pre-martial sex, masturbation, and homosexuality. For example, according to an article describing the sexual revolution, “In the 1950s, less than 25 percent of Americans thought premarital sex was acceptable; by the 1970s, more than 75 percent found it acceptable” (Stossel 74). Norman Podhoretz recounts how in the early 1950’s obtaining pornography was like trying to buy illegal drugs. But Playboy changed all of that, as it emerged as an “acceptable” form of pornography in 1953.
The subtopic being examined in this segment of pornography as a whole, is that of violent pornography. In order to understand what is going to be discussed and the examples that will be cited, one must understand the context of violent pornography in relation to Pornography as a whole. But as this section will conclude, it is actually the widespread viewing of pornography as represented through the media, which leads to violent actions.
Today, pornography has different targeted audiences based on various categories of pornography. There are pornographies made that are targeted toward women in which are slow and focused more on the people’s language rather than solely genitally focused. Most pornographies, however, are made specifically for men. These videos contain a large focus on the genitals, the men are portrayed as dominant, and the women please the men taking any measures necessary. According to a study, pornography that was intended for men and women aroused the men who were being studied. Women on the other hand, activated negative affects after watching the pornography intended for men and positive after watching the pornography intended for women (Mosher, 1994). In general, men are the main target of pornographies and women as well as feminists believe that pornography should not characterize women as objects. Also when making this study, it was difficult to find pornography that was made by women, majority of the videos are made by men and produced for
Slade, Joseph W. Pornography and Sexual Representation: A Reference Guide. Westport, Connecticut: Greenwood Press, 2001. Print.
A real life example of the link between the onset of pornography in American culture and sexual crimes includes a survey done in 1978, in which 44% of the nine hun...
Pornography is an issue that has generated serious speculation; it has grown from a state of insignificance to being a major social issue in most parts of the world. The period from early 1960’s has been labeled as the modern pornography wave. It is a period that saw major discussions in all aspects of the phenomenon from terminology, definitions, the level of sexual content, the economic impact, and most importantly its effects. This paper seeks to address the issue of pornography from the perspective of male participation, consumption, and the interrelated issues. The paper includes a review of two articles; the first article is a scholarly article from a peer reviewed journal, while the second one is a popular media article. Both articles are compared from the perspective of how they approach the issue of male pornography; the paper seeks to distinguish both approaches as it demonstrates the significance of using scholarly articles as opposed to media articles.
Banned for social reasons in many conditions and in many school systems, Anthony Burgess’s A Clockwork Orange first seems to pierce the mind with its bizarre linguistic orgy of debauchery, brutality, and sex, and for some, refuses to affect them above the level of pure voyeurism and bloodlust (either for reveling in it or despising it). Sadism seems to twist the male protagonist; his mind becomes alive with brutal fantasies whilst listening to seemingly innocuous classical music ( “There were vecks and ptitsas, both young and starry, lying on the ground screaming for mercy, and I was smecking all over my rot and grinding my boot in their litsos.”). Many arguments have been made about the censorship of this novella which “glorifies sex and violence;” however, these elements are clearly manipulated for plot development and character development, and ultimately, the story does pose a moral lesson.
In addition, she contradicts her own stance on the position when she mentions that previous literature containing sexually explicit content should not be censored (Brownmiller 59). Brownmiller paints a very strong, emotional, and offensive picture when she claims that women are, “being stripped, bound, raped, tortured, mutilated, and murdered in the name of commercial entertainment” (59). However, this statement is fallacious and does not provide any factual evidence. Furthermore, she makes the hasty generalization that pornography can make people think that certain things, such as rape, are acceptable (Brownmiller 59). Once again, her claim lacks support and relies solely on a faulty pathos appeal.
Susan Brownmiller’s essay is directed towards the publishers of pornography, who knowingly publish for the public to see on a day-to-day basis. With this audience, her argument is mostly ineffective because of her harsh diction that does not appeal to the opposite sex. Other reasons the essay is ineffective are because of the sudden change in tone and scattered essay structure that leads the audience to become confused by unclear thoughts.