This study is not written as a diatribe against eroticism or a moral crusade to stamp out sex. It is intended as an attack, rather, on a multi-billion pound international industry that, it argues, systematically abuses and degrades women, an industry whose product is at the root of cases of routine discrimination and horrific violence. Many writers, both women and men, have contributed to this collection. Each has their own view, but they all hold two beliefs in common: opposition to censorship and the conviction that until pornography is eradicated, women's status in society can never be equal to men's. They argue that the regulation of pornography under the Obscene Publications Act is intentionally ineffective, permitting the mass-marketing of women's genitals and anuses, and the sale of rape and sexual assault as "entertainment" for men, but censoring art, literature and homosexuality. Many of the contributors argue instead for sex discrimination legislation to enable civil actions against the pornography industry where pornography could be proved to have caused harm, or for legislation like the Race Relations Act where pornography could be shown to have incited sexual hatred an

This collection of eleven new essays contains the latest developments in analytic feminist philosophy on the topic of pornography. While honoring early feminist work on the subject, it aims to go beyond speech act analyses of pornography and to reshape the philosophical discourse that surrounds pornography. A rich feminist literature on pornography has emerged since the 1980s, with Rae Langton's speech act theoretic analysis dominating specifically Anglo-American feminist philosophy on pornography. Despite the predominance of this literature, there remain considerable disagreements and precious little agreement on many key issues: What is pornography? Does pornography (as Langton argues) constitute women's subordination and silencing? Does it objectify women in harmful ways? Is pornography authoritative enough to enact women's subordination? Is speech act theory the best way to approach pornography? Given the deep divergences over these questions, the first goal of this collection is to take stock of extant debates in order to clarify key feminist conceptual and political commitments regarding pornography. This volume further aims to go beyond the prevalent speech-acts approach to pornography, and to highlight novel issues in feminist pornography-debates, including the aesthetics of pornography, trans* identities and racialization in pornography, and putatively feminist pornography.

Astonishingly, the average age of first viewing porn is now 11.5 years for boys, and with the advent of the Internet, it's no surprise that young people are consuming more porn than ever. And, as Gail Dines shows, today's porn is strikingly different from yesterday's "Playboy." As porn culture has become absorbed into pop culture, a new wave of entrepreneurs are creating porn that is even more hard-core, violent, sexist, and racist. Proving that porn desensitizes and actually limits our sexual freedom, Dines argues its omnipresence is a public health concern we can no longer ignore.

Imagine watching an action film in a small-town cinema hall in Bangladesh, and in between the gun battles and fistfights a short pornographic clip appears. This is known as a cut-piece, a strip of locally made celluloid pornography surreptitiously spliced into the reels of action films in Bangladesh. Exploring the shadowy world of these clips and their place in South Asian film culture, Lotte Hoek builds a rare, detailed portrait of the production, consumption, and cinematic pleasures of stray celluloid. Hoek's innovative ethnography plots the making and reception of Mintu the Murderer (2005, pseud.), a popular, Bangladeshi B-quality action movie and fascinating embodiment of the cut-piece phenomenon. She begins with the early scriptwriting phase and concludes with multiple screenings in remote Bangladeshi cinema halls, following the cut-pieces as they appear and disappear from the film, destabilizing its form, generating controversy, and titillating audiences. Hoek's work shines an unusual light on Bangladesh's state-owned film industry and popular practices of the obscene. She also reframes conceptual approaches to South Asian cinema and film culture, drawing on media anthropology to decode the cultural contradictions of Bangladesh since the 1990s.

In Shorter Views, Hugo and Nebula award-winning author Samuel R. Delany brings his remarkable intellectual powers to bear on a wide range of topics. Whether he is exploring the deeply felt issues of identity, race, and sexuality, untangling the intricacies of literary theory, or the writing process itself, Delany is one of the most lucid and insightful writers of our time. These essays cluster around topics related to queer theory on the one hand, and on the other, questions concerning the paraliterary genres: science fiction, pornography, comics, and more. Readers new to Delany's work will find this collection of shorter pieces an especially good introduction, while those already familiar with his writing will appreciate having these essays between two covers for the first time.

The unquenchable thirst of Dracula. The animal lust of Mr. Hyde. The acquiescence of Lewis Carroll's Alice. Victorian literature--with its overtones of prudishness, respectability, and Old World hypocrisy--belies a subverted eroticism. The Victorian Gothic is monstrous but restrained, repressed but perverse, static but transformative, and preoccupied by gender and sexuality in both regressive and progressive ways. Laura Helen Marks investigates the contradictions and seesawing gender dynamics in Victorian-inspired adult films and looks at why pornographers persist in drawing substance and meaning from the era's Gothic tales. She focuses on the particular Victorianness that pornography prefers, and the mythologies of the Victorian era that fuel today's pornographic fantasies. In turn, she exposes what porning the Victorians shows us about pornography as a genre. A bold foray into theory and other forbidden places, Alice in Pornoland reveals how modern-day Victorian Gothic pornography constantly emphasizes, navigates, transgresses, and renegotiates issues of gender, sexuality, and race.

This study of pornographic magazine photographs -- softcore, hardcore, transsexual/transvestite -- analyzes the visual code of these images. It engagesquestions about masculinity and masculine sexuality such as "Is there a necessaryrelation between difference and phallic desire?" "Can the masculine subject imagineotherness?" "Is there a will-to-asceticism in this (masculine) sexual surrender toindifferentiation?"

Modernist literature is inextricable from the history of obscenity. The trials of figures like James Joyce, D. H. Lawrence, and Radclyffe Hall loom large in accounts twentieth century literature. Filthy Material: Modernism and The Media of Obscenity reveals the ways that debates about obscenity and literature were shaped by changes in the history of media. Judgments about obscenity, which hinged on understanding how texts were circulated and read, were often proxies for the changing place of literature in an age of new technological media. The emergence of film, photography, and new printing technologies shaped how "literary value" was understood, altering how obscenity was defined and which texts were considered obscene. Filthy Material rereads the history of obscenity in order to discover a history of technological media behind debates about moral corruption and sexual explicitness. The shift from the intense censorship of the early twentieth century to the effective "end of obscenity" for literature at the middle of the century, it argues, is not simply a product of cultural liberalization but of a changing media ecology. Filthy Material brings together media theory and archival research to offer a fresh account of modernist obscenity and novel readings of works of modernist literature. It sheds new light on figures at the center of modernism's obscenity trials (such as Joyce and Lawrence), demonstrates the relevance of the discourse obscenity to understanding figures not typically associated with obscenity debates (like T. S. Eliot and Wyndham Lewis), and introduces new figures to our account of modernism (like Norah James and Jack Kahane). It reveals how modernist obscenity reflected a contest over the literary in the face of new media technologies.

Pornography, also known as sexually explicit material intended to cause sexual arousal, has been hailed by many as a growing public health crisis. Multiple states have now passed resolutions declaring pornography a harm to individual and collective health for inciting epidemics of sexual assault, human trafficking, and compulsive use. But research on the impact of pornography reveals a complicated story behind the straightforward narrative of abuse, including the repression of sex positive materials in the pursuit of pornographic containment. Pornography and Public Health uses a rigorous evidence-based approach to explore the positive and negative effects of pornography on public health, revealing how pornography came to be considered a public health crisis despite the lack of US governmental support. While pornographic content varies widely, this book provides a holistic overview of the people who view pornography, what they are most likely to see, how content has changed over time, and how these changes appear to influence some users. Each chapter explores controversies related to important subtopics in pornography scholarship including aggression, body image, and problematic use, as well as acknowledging the benefits that porn and porn literacy can provide in some contexts. Drawing on meticulous research and close readings of the available data, Emily F. Rothman explores the implications of existing evidence for practice and policy and offers meaningful guidance for public health scholars interested in understanding, and resolving, one of the most complicated issues in health and human behavior of our time. With unique academic insights, Pornography and Public Health avoids moralizing to argue that we can take steps to minimize possible harms from pornography while simultaneously protecting sexual liberty and promoting respect for pornography performers.

The unprecedented mainstreaming of the global pornography industry is transforming the sexual politics of intimate and public life, popularising new forms of hardcore misogyny, and strongly contributing to the sexualisation of children. Yet challenges to the pornography industry continue to be dismissed as uncool, anti-sex and moral panics. With contributions from leading world experts and activists, "Big Porn Inc" offers a cutting edge expose of the hidden realities of a multi-billion dollar global industry that promotes itself as a fashionable life-style choice. Unmasking the lies behind the selling of porn as 'just a bit of fun' this book reveals the shocking truths of an industry that trades in violence, crime and degradation. This fearless book will change the way you think about pornography forever. Contributors include: Abigail Bray; Anna van Heeswijk; Anne Mayne; Asja Armanda; Betty McLellan; Caroline Norma; Caroline Taylor; Catharine A MacKinnon; Christopher Kendall; Chyng Sun; Diana Russell; Diane L Rosenfeld; Gail Dines; Helen Pringle; Hiroshi Nakasatomi; Jeffrey Masson; Julia Long; Linda Thompson; Maggie Hamilton; Matt McCormack Evans.; Meagan Tyler; Melinda Liszewski; Melinda Tankard Reist; Melissa Farley; Natalie Nenadic; Nina Funnell; Renate Klein; Robert Jensen; Robi Sonderegger; Ruchira Gupta; Sheila Jeffreys; and, Susan Hawthorne.

When Armando Bo and Isabel Sarli began making sexploitation films together in 1956, they provoked audiences by featuring explicit nudity that would increasingly become more audacious, constantly challenging contemporary norms. Their Argentine films developed a large and international fan base. Analyzing the couple's films and their subsequent censorship, Violated Frames develops a new, roughly constructed, and "bad" archive of relocated materials to debate questions of performance, authorship, stardom, sexuality, and circulation. Victoria Ruetalo situates Bo and Sarli's films amidst the popular culture and sexual norms in post-1955 Argentina, and explores these films through the lens of bodies engaged in labor and leisure in a context of growing censorship. Under Peron, manual labor produced an affect that fixed a specific type of body to the populist movement of Peronism: a type of body that was young, lower-classed, and highly gendered. The excesses of leisure in exhibition, enjoyment, and ecstasy in Bo and Sarli's films interrupted the already fragmented film narratives of the day and created alternative sexual possibilities.

Anthony Comstock was America's first professional censor. From 1873 to 1915, as Secretary of the New York Society for the Suppression of Vice, Comstock led a crusade against lasciviousness, salaciousness, and obscenity that resulted in the confiscation and incineration of more than three million pictures, postcards, and books he judged to be obscene. But as Amy Werbel shows in this rich cultural and social history, Comstock's campaign to rid America of vice in fact led to greater acceptance of the materials he deemed objectionable, offering a revealing tale about the unintended consequences of censorship. In Lust on Trial, Werbel presents a colorful journey through Comstock's career that doubles as a new history of post-Civil War America's risque visual and sexual culture. Born into a puritanical New England community, Anthony Comstock moved to New York in 1868 armed with his Christian faith and a burning desire to rid the city of vice. Werbel describes how Comstock's raids shaped New York City and American culture through his obsession with the prevention of lust by means of censorship, and how his restrictions provided an impetus for the increased circulation and explicitness of "obscene" materials. By opposing women who preached sexual liberation and empowerment, suppressing contraceptives, and restricting artistic expression, Comstock drew the ire of civil liberties advocates, inspiring more open attitudes toward sexual and creative freedom and more sophisticated legal defenses. Drawing on material culture high and low, including numerous examples of the "obscenities" Comstock seized, Lust on Trial provides fresh insights into Comstock's actions and motivations, the sexual habits of Americans during his era, and the complicated relationship between law and cultural change.

In this now-classic study, Linda Williams moves beyond the impasse of the anti-porn/anti-censorship debate to analyze what hard-core film pornography is and does--as a genre with a history, as a specific cinematic form, and as part of contemporary discourse on sexuality. For the 1999 edition, Williams has written a new preface and a new epilogue, "On/scenities," illustrated with 25 photographs. She has also added a supplementary bibliography.

The People's Porn is the first history of American handmade and homemade pornography, which offers the back story to the explosion of amateur pornography on the Internet. In doing so, it is a much-needed counterweight to the ahistorical and ideological arguments that dominate most discussions about pornography. Critics focus on mass-produced materials and make claims about pornography as plasticized or commodified. In contrast, this book looks at what people made rather than what they bought, revealing how people thought about sexuality for themselves. Whalers and craftsmen, prisoners and activists, African Americans and feminists, all made their own pornography. The People's Porn challenges preconceptions as it tells a new and fascinating story about American sexual history.

The regulation of pornography has always been a contentious issue, which has sparked wide-ranging debates surrounding the acceptability and place of pornography in society. The use of the internet to distribute and access pornography has magnified this debate and has presented a number of challenges for the law in terms of effective and proportionate regulation. Following unsuccessful attempts by states to transpose traditional laws to cyberspace, a new and radical regulatory framework eventually evolved for regulating internet pornography. In this process, the focus of the law has changed from merely controlling the publication and distribution of obscene material to a model that aims to deter private consumption of illegal content. In addition, various self- and co-regulatory initiatives have been introduced with the involvement of non-state actors, imposing a certain degree of de facto liability on intermediaries, all of which raise interesting issues. This book examines the relevant regulatory responses to internet pornography, with particular reference to the UK, but also drawing comparisons with other countries where relevant. It argues that the internet has fundamentally, and in many ways irreversibly, changed the regulation of pornography. Classifying internet pornography into three broad categories - child pornography, extreme pornography, and adult pornography - the book provides an in-depth analysis of the legal issues involved in regulating internet pornography, and argues that the notions of obscenity and indecency on their own will not provide an adequate basis for regulating online pornography. The book identifies the legitimising factors that will lend credibility and normative force to the law in order to successfully regulate pornography in cyberspace. It is the only comprehensive text that rigorously addresses the regulation of internet pornography as a whole, and offers valuable insights that will appeal to academics, students, policy makers, and those working in the areas of broader internet governance and online child protection.

While America is not alone in its ambivalence toward sex and its depictions, the preferences of the nation swing sharply between toleration and censure. This pattern has grown even more pronounced since the 1960s, with the emergence of the New Right and its attack on the "floodtide of filth" that was supposedly sweeping the nation. Antipornography campaigns became the New Right's political capital in the 1960s, laying the groundwork for the "family values" agenda that shifted the country to the right. Perversion for Profit traces the anatomy of this trend and the crucial function of pornography in constructing the New Right agenda, which has emphasized social issues over racial and economic inequality. Conducting his own extensive research, Whitney Strub vividly recreates the debates over obscenity that consumed members of the ACLU in the 1950s and revisits the deployment of obscenity charges against purveyors of gay erotica during the cold war, revealing the differing standards applied to heterosexual and homosexual pornography. He follows the rise of the influential Citizens for Decent Literature during the 1960s and the pivotal events that followed: the sexual revolution, feminist activism, the rise of the gay rights movement, the "porno chic" moment of the early 1970s, and resurgent Christian conservatism, which now shapes public policy far beyond the issue of sexual decency. Strub also examines the ways in which the left failed to mount a serious or sustained counterattack to the New Right's use of pornography as a political tool. As he demonstrates, this failure put the Democratic Party at the mercy of Republican rhetoric. In placing debates about pornography at the forefront of American postwar history, Strub revolutionizes our understanding of sex and American politics.

While sexually explicit writing and art have been around for millennia, pornography--as an aesthetic, moral, and juridical category--is a modern invention. The contributors to "Porn Archives" explore how the production and proliferation of pornography has been intertwined with the emergence of the archive as a conceptual and physical site for preserving, cataloguing, and transmitting documents and artifacts. By segregating and regulating access to sexually explicit material, archives have helped constitute pornography as a distinct genre. As a result, porn has become a site for the production of knowledge, as well as the production of pleasure.
The essays in this collection address the historically and culturally varied interactions between porn and the archive. Topics range from library policies governing access to sexually explicit material to the growing digital archive of "war porn," or eroticized combat imagery; and from same-sex amputee porn to gay black comic book superhero porn. Together the pieces trace pornography as it crosses borders, transforms technologies, consolidates sexual identities, and challenges notions of what counts as legitimate forms of knowledge. The collection concludes with a valuable resource for scholars: a list of pornography archives held by institutions around the world.
"Contributors." Jennifer Burns Bright, Eugenie Brinkema, Joseph Bristow, Robert Caserio, Ronan Crowley, Tim Dean, Robert Dewhurst, Lisa Downing, Frances Ferguson, Loren Glass, Harri Kahla, Marcia Klotz, Prabha Manuratne, Mireille Miller-Young, Nguyen Tan Hoang, John Paul Ricco, Steven Ruszczycky, Melissa Schindler, Darieck Scott, Caitlin Shanley, Ramon Soto-Crespo, David Squires, Linda Williams

"A Taste for Brown Sugar" boldly takes on representations of black women's sexuality in the porn industry. It is based on Mireille Miller-Young's extensive archival research and her interviews with dozens of women who have worked in the adult entertainment industry since the 1980s. The women share their thoughts about desire and eroticism, black women's sexuality and representation, and ambition and the need to make ends meet. Miller-Young documents their interventions into the complicated history of black women's sexuality, looking at individual choices, however small--a costume, a gesture, an improvised line--as small acts of resistance, of what she calls "illicit eroticism." Building on the work of other black feminist theorists, and contributing to the field of sex work studies, she seeks to expand discussion of black women's sexuality to include their eroticism and desires, as well as their participation and representation in the adult entertainment industry. Miller-Young wants the voices of black women sex workers heard, and the decisions they make, albeit often within material and industrial constraints, recognized as their own.

Sex is cheap. Coupled sexual activity has become more widely available than ever. Cheap sex has been made possible by two technologies that have little to do with each other-the wide uptake of the Pill and high-quality pornography-and its distribution made more efficient by a third, the uptake of online dating. Together, they drive down the cost of real sex, have created a massive slow-down in the development of significant relationships, put women's fertility at risk, and have even taken a toll on men's marriageability. What the West has witnessed of late is not the social construction of sexuality or marriage or family forms toward different possibilities as a product of political will, but technology-driven social change. This revolution in sexual autonomy also ushered in an era of plastic sexuality and prompted the flourishing on non-heterosexual identities. This book takes readers on a tour inside the American mating market, and highlights key patterns that characterize young adults' experience today, including the early timing of first sex in relationships, overlapping partners, the hazards of online dating, frustrating returns on their relational investments, and a failure to link future goals like marriage with how they are conducting their current relationships. Drawing upon several large nationally-representative surveys, in-person interviews with 100 men and women, and the assertions of scholars ranging from evolutionary psychologists to gender theorists, what emerges is a story about social change, technological breakthroughs, and the unintended consequences of women's economic success. Sex and its satisfactions are becoming increasingly important in contemporary life. No longer playing a supporting role in enduring relationships, sex has emerged as a central priority in relationship development and continuation. But unravel the layers, and it is obvious that the emergence of "industrial sex" is far more a reflection of men's interests than women's.