Though most women, regardless if identifying as feminist or avoiding the label, acknowledge the deleterious, misogynistic elements of pornography, some women -- boastful sex positive and pro pronography -- believe that these inherent shortcomings can be redeemed. They are talent, producers, consumers, and directors all dedicated to creating pornographic content that is feminist and inclusive of under and poorly represented identities. All participants in a capitalist industry, but all with a consciousness to pave the way of improving it -- the focus of this essay. This paper will engage with the reconciliation involved in reclaiming pornography as feminist, while delving into the work of woman who actively advocate for and produce intersectional …show more content…
Intersectionality of identity isn’t limited to acknowledging minor sexualities; it’s expansive of inseparable combinations of different races, genders, abilities, socio economic classes and analyzing the privileges and disadvantages that come with different identity markers. Meaning a queer, working class Native women’s experiences may overlap but are not tantamount to the experiences of a queer, working class White woman. Advocates for intersectionality in pornography do not necessarily only want more representations of poorly portrayed people such as women of color. They are also calling for more nuanced, less stereotypical and degrading portraits of underrepresented talents. As Shine Louise Houston explained to students in Sociology 135 when guest speaking during a lecture, advocating for intersectionality means advocating against hegemonic depictions of identity, pleasure, and power in mainstream pornography. Shine holds herself accountable of doing so in the direction of films of her company Pink and White Productions. There she features talents of varying races, genders, sexualities while additionally providing creative and plot driven content in a variety of genres from educational to scifi and mystery (Taormino et al. 109). Though some argue …show more content…
Women of color in mainstream pornography are often fetishized and objectified for the male gaze in accordance to stereotypical presentations of their sexualities. Stereotypical submissiveness of Asian women informs passive and abusive performances from talent. Though the stereotypical hypersexualization of Black women as jezebels is assumed to shape their portrayals in pornography, deviance, instead, is highlighted in performances with Black talent. Locating Black women in hegemonic hierarchies reveals how their bodies are the most devalued in both character profiles -- often seen as sexually promiscuous and “ghetto” -- and labor treatment -- frequently facing disproportionate risks with low pay and production safety. It is common for professions to speak openly about Black women’s devaluement in the pornography industry business, such as when Mireille Miller-Young -- an associate professor of Feminist and Black studies -- encountered a director at pornography expo sharing that, “[B]lack chicks are fucking shanks (Taormino et al. 107).” To combat this, Black women have taken upon controlling their representations and performances in pornography by primarily accepting roles that positively portray them and by creating scripts and companies that create these opportunities. Though Black women often do not hold the same social and cultural capital as white talent and
In The Venus Hip Hop and the Pink Ghetto, Imani Perry argues that the over-sexualized, unattainable bodies of black women in popular culture will lead to the breakdown of feminism and the positive body image of the everyday black women. As hip hop music continues to become more popular, the sexist messages presented in lyrics and music videos are becoming more common to the everyday public, including young black girls developing a self-image. Instead of these girls being exposed to healthy, positive role models who encourage individuality and that there is more to a woman than her body they are given hip hop video models whose only purpose is to look sensual on screen. The strong women that do exist in the hip hop genre are pushed to sexualize themselves or their lyrics to sell records or stay relatively unknown. Although Perry’s arguments are logical, I believe that she is creating a slippery slope of logic. A genre of music cannot destroy the self-image of black women that has existed for generations.
In this paper I argue that self-objectification is created and perpetuated by the mass media through the critiquing of mainstream films and television shows: Clueless and Gossip Girl. These forms of media glorify the dominant culture’s forms of capital that produce the thin, white, rich, feminine female protagonist. I will analyze how mainstream white male producers prioritize the white narrative and exclude girls of color from mainstream media through the internalization of the thin white image.
The influential feminist pro-censorship movement threatens the women’s rights movement it professes to serve. It is led by law professor Catharine MacKinnon and writer Andrea Dworkin. The feminist movement thinks that sexually oriented expression-not sexist concepts of marriage and family, sex segregated labor, or pent-up rage is the cause of discrimination and violence of women. Their solution is to suppress “all” pornography. These are not the beliefs of Nadine Strossen, President of the American Civil Liberties Union, which is an organization that is famous for defending the rights of U.S. citizens in the First Amendment. She is claiming that pornography is a way to strengthen womens rights. I don’t see how displaying women as objects, and putting them in films portraying the abuse of them in a sexual manner is helping to protect their rights(Faigley & Selzer, 540).
An analysis of the relationship between pornography and the American culture reveals that the industry is blamed for dozens of social ills for the men of our society. Those ills also work to damage the women in several irreparable ways. Some of the damages to men include: illegal sexual behavior, illegal non-sexual behavior, callousness, sexual harassment, casual sex, and multiple sexual partners. The problems for the women directly involved in the industry are long term and long lasting, creating overall issues that affect women’s economic and social status. But what are there damages caused by the type of movies most women love, the type of movies they drag their boyfriends and husbands to, the type of movies millions watch unashamedly in public-the romantic comedy?
Kristol’s article writes that pornography and the pornographic industry has always been dominated by men (491). Throughout the history of the United States, men have taken precedence over women in many aspects. Men were considered the workers of the family while women stayed home and acted as housewives or catered to the men. The idea of feminism and women’s equality, however, is growing throughout the nation. With feminism and women’s equality at large, society must progress toward eliminating male domination and allowing the extension for women's opportunities; therefore, pornography and the male-dominated industry should be limited by the government. Aside from men and the power statuses they hold in pornography, Gail Dines in her article “Facts and Figures” discloses information about the male tendencies after watching pornography. Men have been reported to support female rape, have aggressive behavior toward women, have a decreased sex drive toward wives or girlfriends, and desire forced sexual acts after viewing pornography (1). Despite America’s best effort to protect all citizens, in reality, females are typically victims of physical, sexual, and emotional abuse, and pornography is a cause of such violence. Although it is a key factor that plays a role in causing violence and aggressive behavior toward women, Americans are able to easily access videos or films instantly because of modern technology and the lack of pornography censoring. Because of the tendency to cause abuse in the real world, pornography must be censored in order to ensure that women are granted equal amounts of safety and
To sufficiently take a side in the ever-growing debate of pornography, one must first define the concept around which this discourse surrounds itself. A working definition for pornography is a piece of material that has the object purpose of arousing erotic feelings. Radical feminists, however, strictly define it as “the act of sexual subordination of women” (Dworkin 1986).
Images in media, television especially, are a direct projection of the people who control and project them, which often tends to be white people. “‘We face the problems of images projected by people not of us,’ she said. ‘The media is the most powerful mind-manipulating tool on the earth.’”(Ruby, 18) The perception of black women in the media today can be damaging to the self-image of the young black women of today. During the Black Arts Movement, many artists and poets spoke of how white influence in our lives has created skewed beauty ideals in the African-American community. This white influence tends to harm black women’s images of themselves. Most female images seen in mainstream media are white, thin, tall and just plain gorgeous, making it hard for the average African American woman to relate to. Black television has done well with having different shapes and sizes for women of color to relate to, but that only includes one or two channels on all of television. For example, even though BET was founded by Robert Johnson, a black man, BET is now predominantly owned by white people. “"Day after day, in all forms of media -- print, radio, and television -- we see, hear, and read the perspectives of non-Black women and women of color who are not actively involved in the struggles of Black women -- especially on so-called 'women's issues'.”(Women’s Health Weekly, 546) Large television networks must choose to show things that will not only keep ratings up but also keep people interested in watching their shows. Unfortunately in today’s age and day drama and negativity is what most Americans look to watch. Even though many people feel that these negative things are wrong, we still find ourselves watching and reading about it. The...
When deliberating over whether access to pornography should be prohibited, four areas of contention must be elaborated upon and evaluated critically to provide a sensible basis on which a judgement can be made. Firstly, it must be concluded whether pornography can be classed as a form of speech, and whether it enjoys the same protections as art and literature under the principle. Secondly, works such as those of Catherine MacKinnon can be drawn upon to offer a feminist perspective of the effects of pornography on the treatment of women within modern democratic society. Moreover, the principles of Devlin and Feinberg offer relevant acumen regarding the criminalisation of pornographic media. Overall, this essay will argue that whilst access to pornography should not be entirely prohibited; publications that depict ‘extreme’ situations should be subject to regulation and restriction.
Hollywood’s diversity problem is well-known; however, the extent might be surprising to most Americans. According to a 2014 report by the Center for the Study of Women in Television, Film & New Media, found that females comprised only 30% of all speaking characters among the top grossing films of 2013. (Lauzen, 2014) However, minority women faired far worse than their Caucasian counterparts. As a matter of fact, if one looks at the numbers even female characters from other world’s were as better represented in film than some minority women; the numbers are as follow for women: Caucasian (73%), African American (14%), Latina (5%), Asian and other world tied (3%). (Lauzen, 2014) If the lack of representation were not enough consider a 2009 study which found that when minority groups are portrayed on television the portrayal tends to be negative. (Alexandrin, 2009) A study by Busselle and Crandall (2009) found that the manner in which African-Americans are portrayed, often as unemployed criminals, tends to have an influence on the way the public perceives African-American’s lack of economic success. Furthermore, the news media does an equally poor job in the ways that African-American’s are presented; according to the same study while 27% of Americans were considered “poor” in 1996 the images of America’s “poor” being presented by news media was heavily Black (63%). (Busselle & Crandall, 2002) Today, this can be seen in the way that African-American victims of police brutality are depicted in the media. Even when African-Americans are murdered at the hands of police for minor and non-violent offenses (e.g. Mike Brown, Eric Gardner, and Tamir Rice) they are often portrayed as thugs, criminals, and vandals. What’s more, seve...
Catharine MacKinnon, in her book Feminism Unmodified, takes a unique approach to the problem of gender inequality in America. She claims that pornography defines the way in which America’s patriarchal society perpetuates male dominance, and attacks traditional liberal methods that defend pornography on the basis of the first amendment’s right to free speech. According to MacKinnon, pornography is not an example of speech but rather an act. She proposes that this act discriminates against women as a class, and therefore violates their civil rights and should be outlawed. MacKinnon’s critics may think her argument is excessively radical, and contemporary society may not embrace the changes she suggests. However, even if she is deliberately provocative Catharine MacKinnon’s message is worthwhile: The American male power structure dominates women and must be changed. Establishing sexual equity in this power structure would be a major step in the struggle for gender equality within American communities.
Often identity is only thought of as a collection of individual characteristics that are independent such as sex, gender, race, class, sexuality, etc. Intersectionality is when these characteristics are transformed by one another and “tend to collapse into one another in the context of everyday life”. Dorothy Allison wrote Two of Three Things I Know for Sure where she explains aspects of her life through chronological stories revealing details and providing the reader with lessons she learned throughout her experiences. This book can be read with an intersectionality lens focusing on the moments or stories where gendered poverty shapes people’s experience of sex and sexuality as well as how gender, sexuality, and class transforms whiteness into a stigmatizing attribute rather than it’s usual power given attribute. Allison’s scene with her Aunt Maudy and the scene with her girlfriend both show intersectionality in different aspects and times of Allison’s life.
This fieldwork aims to sociologically analyze gender roles and expectations within the movie White Chicks. In this film brothers, Marcus and Kevin Copeland, play the role of two black FBI agents looking to get back into good graces with their superior after they accidentally ruined a drug bust. They are assigned to escort two rich white females, Brittney and Tiffany Wilson, to the Hamptons for Labor Day festivities. While traveling they experience a minor car accident, leaving the girls with a single scratch each on their face. Because of their socialite status, the sisters no longer wish to continue their trip in fear of humiliation. The agents fear losing their chance of redemption, so they decide to disguise
Women have long been exploited through pornographic material, such as videos, photos and literature, these materials, more-so now, than ever, portray women purely as sexual objects. The evolution of the business? popularity has done nothing but help fuel a false impression, subjugating women in modern day culture and society, yet still, banning pornography in the US would be nearly impossible, due to complex issues dealing with the first amendment and obscenity laws. With instances of discrimination based on sexual orientation, race or sex being in most cases illegal, the practice of pornography should most definitely not be acceptable or perpetuated, especially in a country like the US where this said industry defies everything of which our country is founded upon. This rise [in popularity] looks as if it is related, almost in a hand by hand parallel, with growth of sexual violence against women in America.
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.
Madison, D. Soyini. "Pretty Woman Through the Triple Lens of Black Feminist Spectatorship." From Mouse to Mermaid: The Politics of Film, Gender, and Culture. Indianapolis: Indiana UP, 1995. 224-35. Print.