Hard Core: Power, Pleasure, and the ''Frenzy of the Visible''

POW E R, PEA 5 AND

U R E,

THE

F R

N Z

v

OFT H E

I B

L E"

LINDA WILLIAMS [Sf

•

HARD CORE

Contributions 10 the discourse on Hard Core, dIscussed in th is book:

JURISTS

"I don't know what (hard core] is, but I know it when I see it :

",-'"

"Sex, a great and mysterious motive force in human life, has indisputably been a subject of absorbing interest to mankind through the ages; it is one of the vital problems of human interest and public concern ." THEOR ISTS

"For many years, we have all been living . .. under the spell of an immense curiosity about sex, bent on questioning it, with an insatiable desire to hear it speak and be spoken about." "This I call the Fetishism which attaches itself to the products of labour, so soon as they are produced as commodities, and which is therefore inseparable from the production of commodities." •

FILMMAKERS

"There are those who believe that the come shot, or, as some refer to it, 'the money shot, ' is the most important element in the movie and that everything else (if necessary) should be sacrificed at its expense .... Plan on at least ten separate come shots ", ten is enough to allow some freedom of choice." "I want more, more, more . .."

Marilyn Chambers (in Insatiable) "Women's sexuality has only come to be recognized in the last 20 years. Porn was always for men, Now that women are finally allowed to have a sexuality, we are looking for stimulus. Women are saying, 'Okay, now let's look at a film .' Well , now is the time to start making films for women." :l 'loyaIle, Femme Productions

......,..",..._. -f CALIFORNIA PRESS ISBNO-52D-Dbb52-9

HARD CORE Power, Pleasure, and the "Frenzy of the Visible"

LINDA WILLIAMS

UNIVERSITY OF CALWOKN IA PRESS BERKELEY

Los

ANGELES

University of California Press Berkeley and Los Angeles, California

0 1989 by The Regen~ of the Uni""rsity of California Ubrary of Congren CataJoging-in-Publication Data Williams , Unda, 1946Hard COre : pl""er. pleasure, and the frenzy of the visible I Linda William •. p. em. Bibliography: p. Includes inde~ . ISBN ~2-9 (alk. paper). - ISBN 0-520-06653-7 (pbk. : alk. paper) I. Se~ in motion pictures. 2. Erotic Rlms-Wstory and criticism. 3. Pornograph y. I. Title. II. Title: Power, pleasure, and the frenzy of the vi.ible. PNI995.9.S45W5 1989 791.43'63538-dc2Q 89-32043 elP

Printed io the United Siale. of America

I 2 3 4 S 6 7 8 9

The paper used in thiJ publication meets the minimum requirements of American National Standard for Information Sciences-Permaoence of Paper for Printed Library Materials, ANS I Z39.48-I984. Ell

For Paul

Contents

Foreword

jx

1.

Speaking Sex: "The Indiscreet Jewels"

2.

Prehistory: The " Frenzy of the Visible"

3.

The Stag Film: Genital Show and Genital Event

58

4,

Fetishism and Hard Core: Marx. Freud, and the "Money Shot"

93

I

5

Generic Pleasures' Number and Narrative

120

6.

Hard-Core Utopias: Problems and Solutions

153

7.

Power, Pleasure, and Perversion: Sadomasochistic Film Pornography

184

8.

Sequels and Re-Visions: "A Desire of One's Own"

229

Conclusion

265

Notes

281

Works C ited

297

Index

311

Foreword

Many years ago I began work on a study that was tentatively entitled Film Bodies. It was to be a series of essays on the cinema considered from the point of view of what has most motivated the art forms and the technology; the pleasure in looking at human bodies in movement. I wanted to explore this most basic phenomenon of the movies, first in the p rehistoric and primitive spectacles of cinematic body movement itself, and the n in genres that focus on particular kinds of body movement and body spectacle-musicals. horror films , low comedies, "weepies." My focus was thus on moments of technological innovation that represented moving bodies or genres that were centrally about movement- whether involuntary re fl exes of musical rhythm, terror, comedy, or sorrow~a nd that in turn "moved" the bodies of viewers to similar refl exes. These were also historical moments or genres in which bodies as signifi ers of sexual diffe rence figured prominently. Feminist film theory and criticism have argued for many years that this cinematic pleasure in looking is predominan tly masculine. My initial thought was simply to see how the male pleasure in looki ng operated ill these other genres as well . As an afterthought , and only because the logic of my approach seemed to dictate it, I dete rmined to examine anothe r gen re in which body movemen t, invo luntary physical response, and sexual diffe rence figure prominently: hard-core film pornography. I put off writing the added chapter on pornography. thinking that this was one chapter, at least, that would require no new thought or research. Here there "''Quid be no difficult questions of generic evolution or textual reading. The meanings were self-evident : as every-

Foretoord

one knew, "if you've seen one porn film you've seen them all ." Pornography would only demonstrate literal, extreme instances of everything feminist film critics had already noted about classical cinema: sexual pe rformances designed to gratify male viewers; literal voyeurism; sadism that punishes wo men for being as sexual as men imagine them to be; fetishism of the female body that would provide a textbook illustration of Freud's famous essay on the subject. I assumed, in short, that mm pornography would simply demonstrate all of the above with the sensationalism endemic to the genre, illustrating a total objectification of the female "film body" as object of mrue desire. I was wrong. As soon as I began really to look at a large number of film s across the genre's history rather than to generalize from a viewing of one or two film s, I found that mm pornography did not so neatly illustrate such objectifica tion. I fo und, in fact, that these apparently self-evident texts were fraught with contradiction . The most important of these conflicts was the difficulty hard-core fil ms have in fi guring the visual "knowledge" of wo men's pleasure. Although the genre as a whole seems to be engaged in a quest for incontrovertible" moving" visual evidence of sexual pleasure in general, and women's pleasure in particular, this is precisely what hard core could never guarantee. So the quick-and-easy chapter on pornography that I had envisioned as a small segment of a larger work gradually grew, much to my initial consternation , into a book of its own. And to my surprise, in the genre whe re I expected to see the most unrelieved and unchallenged dominance of the phallus (literally, in the form of the ubiquitous erect or ejaculating penis), I saw instead a re markable uncertainty and instability. I began to see that an understanding of how power and pleasure fu nction in discourses in which women 's bodies are the object of knowledge could be crucial to any efforts to alte r the dominance of male power and pleasure in the culture at large, even in this most masculine of film genres. If the above explanation of my motives for writing this book sounds defensive , it is because I feel impelled to emphasize how I found it necessary to study pornography in spite of my "proper" fe minist and womanly predilections against it. I cannot, for example , say what Alan Soble (1986, iv) says in the preface to his recent book on pornography-that he walked about in "a daze of scholarly sex-

,i

uality" anticipating the "long·delayed orgasm of publication," For a woman to admit to any such coincidence of scholarly and sexual pleasure undercuts her authority in a way that does not occur with a male scholar. It is not surprising, then , that I should want to proteet myself against the perceived contaminations of a "filthy subject"-lest I be condemned along with it. At the same time, however, I feel it is important not to perpetuate the pervasive attitude among femini sts that pornography is both the cause and the symptom of all women 's problems. For even though I know that the slightest admission that not every image of every film was absolutely disgusting to me may render my insights worthless to many women , I also know that not to admit some enjoyment is to perpetuate an equally invidious double standard that still insists that the nonsexual woman is the credible, "good" woman. Clearly, it is difficult to strike a proper attitude toward pornography. But prope r or not, at this stage in the contemporary proliferation of discourses of sexuality it seems helpfu l for all of us- men, women, anti-pornography feminists , and anti-censorship feminists-to agree at least that we are moved, whether to anger or to arousal , by these images of hard-core pornography, and to proceed with an analysis of the power and pleasure thcy hold for us. It is my hope that this study will be of intellectual and political use to those who have a need to get beyond the question of whether pornography should exist to a consideration of what pornography is and what it has offered those viewers-primarily men but, now, women in increasing numbers- who have been "caught looking" at it .

There are four people without whose generous criticisms, suggestions, and encouragement this hook would have Rounde red . To Judith Kegan Gardiner l owe the most. As a fri end, neighbor, and colleague she W~ always there to read the earliest ll!.. 12.. 2.29. m and film medium, ~ ~ and in,'Oluntary bodily response, >ll!.. 2li. 2Iil. [ffi; and men's pleasure, lllli and pleasure, 3!l. 34-.35, §Q. :zg, 23i.. 251; and psychoanalysis, jfu and women's pleasure, :u. ~ 5il5!i. 1M Consumerism, l.llIi::lQIi. 154- 155, I&l.

m

2JIl

Contraception, 62.. 8ad!6. 102 (;Qrbin', n lney, Z93nl!

Dakota Brothers, 9S Daly, Mary. 2.83n ll Dalne" l.59. Damiano, Gerard, !!:!, (!fr,

.u.g, Jl!Q.

~mm2JO.

Dan iels, Godfrey, 00 !.M. l15. Dark Brothers, !JioQ. l.fi2.d.M Davidson. Arnold, 28lnl Death: compared to orgasm, l1l!'i. ll!2. lOO. llH; and death illslind, rep' resentation of, lli!i, llI2d..93 Debbie Does Dallas (Clark), 110 de Bcrg. Jean, l.O. lli'2. .223 Debord, Guy, lOfi Deep Inside Porn Starr. 2AlI: Deep Throat (Damiano), ~ ,l;l, 931M. ~ compared to Behind tM Green Door, ~ J.Qg; compared tn musicodls , !§1 mmllared to Opening oj Mi4tV Beethoven, 147 _ lJll: and con!licl I'1)solution, L3!i. HZ.; and fetishism , li!Z. !..H; and integrated utopia, JiO- I7l , 1lli: lcgality of, !!II..:::lOO; and mass audien"", , 99lQQ. 2J,2; meat shot in . UQ; and mi sogyny. UQ; InOn:y, Ales. t!.l::.62. ~ Desire: and commodity fetishism, Ill; eronomyof. education of. 2632M; and exteriority. 258 - 259, B and female sexuality, feminist repression of, 2fi::21 hermeneutics of, 3f; heterosexual , l:!..l::l.32. ~

m

m

!±!, 149-150.

m m. m

homo-

sexual. m incommensurabillty of male and female, 182.; and interiority, 2.58 - 259, ~ ~ inlersubjecth-e, m ~ goo... ~ 216; lesbian. Ma male, ~ lli2; masochistic, in mu sicah, !1!. m::rH. ~ and mystification, and narrative disequilibrium, lJl; and object relatiom. m and

m m

m

otherness. LU and patriarchy, 21S:

penis as object of. l!fu and phallic sexuality, ~ represenbtlion of, m sadistic, sadomaso'er, 1 !!!i. li6.; psychological, ~ scientific, fl.; and sexual dilrerence, liS.. 15.2.: and subjecti"ity, 282n7 DiSCOUrse. sexual, ~ 152; and feminism. m m and film medium, i!i; and Foucault , H ~ !.H; and gender. 2ti8.; and hard-core feature film. male-dominated, ~ § and men's pleasure, m alld phallic sexuality, 266; and phallogocentrism , ~ g and pleasure. m and pornographic revisionism, 2!:!B.; and ""","'r. m and power· pleasure relation, proliferation of, 274 _275; and p.yehoonaly,is, 46- 47; and public sphere, 84-90. 00.; alld K'ientia t nt/liEu, 34-36; and sexual norms, and iKlu lld fi lm. J..gg; and ,,'Omen's pleasure, 23Ib2.1J. Doane, Mary Ann, 1M.. m 282n3, 293_294n6. 294n2 Dobson, Jame., 16. Oocumenb.ry RIm. 5!l. 91dI8 Donne rstein. Edward, 186- 188, !.lH.

m

m

sa.

m

m

m

2m.. 283n 10

Dowmtain U,.,.,tai rr, 1211 Dracula Such. l2I1 Dnued to Kill (de Palma), 2!1 Driller (James), l.98 Duca, La. 285n4. 287n l Duggan, Li sa, 2:i. 284n12 Dworkin, Andrea, l1dB., 20- 22, :M. ~2!lLmm 283nll ~ !..!l!t. ill... ~ 284n 18,

Dyer, Richard, ,l

!.M.

~m21b219

Diegesis, ~ !IT. :M. ~ ~ m Dietrich, Marl"one,
"""'

EIl!ter 1'lIrade (Walten), L1.l::l.32. i l l ~::Chols, Alice, 2.6 Eddy. Nelson. I.;l2. !TI. 1H Edison , Thomas, 51--53, 6;11& lill Ehrenreich, Barbara, 21. 171- 173, !f1!i

284nI2.284nI3 Eisenstein, Sergei, 2A2 Ejaculation , SCI< Money shot

m

EktHln. l.fl Ellis, Ellis, Ellis, Ellis.

Ua,'Cloek, 86 John . 286,,7 Kate, :a. 284n13 Richard, ~ 89..dlO

m

315

1m'" Elbworth , Elizabeth, 295113 End of Db,een ily (Rembar), !19 An Engl14" Tmgedy, 289n16 Ephron. Nora. 99. Erotic art, (!. 2. ;M. ;!§. 59- 00, !!fu distinguished from pornography, (!. ~ g[[.. 282n4; and historical dis_ continuity, l::!; nonexplicit, ~ m 2TI Escapism : and abstract formalism. IJ!Q; in Behi nd the G reen Door, ~ lfil.. and dissolved utopia. ~ and genre. 154- 155: and hard-core feature Rim, lSi. and mass culture, ~ !&1; and musicals, 159-100: and representation, !§Q; and separated utopia, lOO::.l§.3. 1M. l1Q, 2,i,1; and sexual fantasy. 210. Essentialism. 55 Estrich. Susan, 29102 Every Woman Hasa mntasy (Durell and Winters), 23.'3 Exp)oitation film, 96-99. 19ld.93

m

m

m

Fa)se consciousness,

lL ll6.. !12. 217-

m~m 295n2

Fanny Hill (Cleland), !l.. 3!l, S3., ~ l62. Fantasy, semal, in Behind the Green Door-The S,quel, ~ and dissol...oo atopia, lli.::l1S; and escapism, and fetishism, and hard-oore feature film, I.11.::.l:m. 232m and infantilism, ~ and masochism, 210-212 , and mystification, 2TL and nthern"ss, m and pleasure. ~ and power, ~ and P'lychoanaiy.is, and role playing, m and sadomasochism, I.ft. ll. 221::222. ggfu and safer sexuality, ~ and sexual violence. 17-18, lM; and social transgression , ~ and _men's pleasure, 26.1 Fatal Attraction (Lyne), 253. Fatima, 18 Fe llatio, !J;!. !JL 149- 150: male.to-male, 220-221; and money . hot, 111-113: and pornographic revisionism, ~ representation of, 24~ ill, ~ and _men's pleasure,

m m

m

m

mm

m

m

m

=

Feminism, 117- 118, ~ and anticensorship movemen t, ll. ~ 22::ZlL ~ and anti-pornography mO'l'ement, §.. !!. l3::.li. lli:::26.. 2!l.. lli. ll!6. li!Q. ~ and biological determinism, g§; and critique nf phallic

mm

sexuality, 265-267: and crit ique of sexual violence, Il::22. g§.. lli5..::l.l!!i. !..OO. ll!Q, gQ.l; and feti.hism, ilQ; and gtmre. ~ history of, 287n13: and " Ieese CommisSion, !§. 19-21 : and natural sexuality, gJ; and psychoanal ysis, lB9... 258-2.~9, 285- 286n7, 294 -295n6; and re~rse sexis m. ~ and revision of pornography, 2J2. ~ m and sadomasochism, 2ill. ~ ~ 216- 217 , ggfu and sexual acts. Zi::2§;. and sexual discourse, and se~ualliberation, !!Q. lJ!g, lift.. l1.1::11Z.; and sexual norms, lJ1g; and sexual politics. 2J::.Zi.. 2!i; and social construction of sexuality, 2J; and women's pleasure, In Fem inist Anli-Censorship Taskforce (FACT), gz, 264n14 Femme (Ncimi), 249- 251 , 251 Femme Productions, ~ 263_264 ,

m

m m.

m

m m m

"",'

m

Femme, de Sode, I.lll Ferguson. Frances, ~ 29102 Fetishism , commodity, ~ 103- 1OS, l.l5. liB.; compensatory function of, 104- 105: and Deq> Throat, ~ lH; and fear of castntion, i.l::1,l ~ ~ 104- 105, 286n7; and female body, 39-46, 49-50, ~ ~ g.ffi, :ill.; and femini. m, llfu and fi lm apparatus, 2M; and film medium , ~ §Q, 1M. ~ ~ 286n7, 286118; and men's pleasure, ~ and money shot, !§. ill., 116- 119, 289119; and musicals, !J!!; and nlU'rative, 39t;1 ~ and objectification, ll!§: and otherness, H!6; and patriarchy, 1.22; and phallic sexuality, !.l::.1?" IJ!2::ll!::i.. 113-114, !!§. g,§Q; and pleasure, ~ ±!: politieal analysis of, ill!!; and pornographic revi.ioni.m, ~ and power-pleasure relation. i3, 104lOO.. li.Z; and I"'ychoanalysi., m and religion , ~ lJl1, ilQ; and sadism, ~ and science, ~ and scientific discourse, 40- 41 ; and sc0pophilia, 204 - 20..'5; and sexual acts, J1g; and se~ual dill'erence, :!!. £!. 49-50, lH, ~ ~ ill.. ill. ~ and sexual fantasy. and sexual norms, ~ and sound, ~ ~ and technology, 7l!.. JAg, ~ and _men's pleasure,286n7 Feuer, Jane, klli. 29ln3

m

m

m

m

m

m

316

Index

Film apparatus: and body. ~ 45~ deronstruction of, 2IH; and desire, ii::.1!i; and fetish ism, m and inmluntu)' bodily response, .5.; and objectification , l!±!; and penoersion, ~

m

m.

!ID!. and phallic sexuality, and pleasure. 36-39. ~ alld myell rism, 2!U Film Maker's Culde to Pornograph~ (Ziplow), ~ lZ!Bll. 2.52 Film medium: and bodily motion studies, ~ ~ and hodily response, ,2;

hysteria, 46-41; and implantation of perversion, ,1, :!§. lli. ZlI::212.; and mu ltiplicity of power, ~ l.lfu and lcientia l u ualil, ,1, ~ ~ ~ and sexual discourse, 2:::3; and ~m' en's power, !. 281-282n2 FrankelUlein (Warhol), 19.) Fred Ott'l Snuu (Ed ison), ~ 63-

"

286n7, 286n8; and frenzy of the visible, 1 ~ 38. 00. §fu hi story of, 1. ~ 42-43, ~ ~1-52 , 285n2, 285n5; and iamogrnphy. /JIQ; and knowledge. lOO. W;. male gaze in,

Freed Unit films, 160 A Fru Ride, 6h6i. 68-69, ll. No Sl.. 92 Freud , Sigmund, ~ ~ ~ ~ and fe· tishism, 41-42, ~ SoL ~ l.O.1d.ll6. I.l1.::ll6. ll8; and hy.teria, ~ and masochism , m and phallocent rism. !!2. lW. l.lS.. and return of the repressed, 1l; and sexual difference. !L 53-55, 8Z: and ~m· en's pleasu re, ill Friday Ilw Thi"",,",h (CUlllli nKham).

for movement's sake, ~ and music, .li£; and narrative. 3l!.. 41-46. ,;iQ,

Fuentes, Annette, ~ 2M! FunclwIU and Duorde., of the Reproductive Organ.J (Lord Acton ), 56

and ronfession, ~ ~ and diegelie

unity, 65-66: and discourse,

UH.

l1!!i l89. lM. ~ 288n6; and fetishism , i.l::iQ. ~ ai. ru.. lOO.. m

m

~ and masQchisrn , lID!.. and men'. pleasure, ~ and movement

m

m m

2Il6

~~{g.~l22.m

287n2. 289118; ontology of, I.B4d.8!i. ~

and pe ...."'rsion. 44 - 46. 188-189. ~ ~ alld pleasure, ,l!i. 38-39, 44-45: and preoedipal subjectivity. i!; and primili'>-

m

ism , ~ 60-61, 63-65. 61. 287n2, 288n3, 288n4; and p5}'er, .H; of sexuality, ~ ~ 28lnl Histor!J of the Blue MOt:k (de Ren zy).

!iJd2. !l!!. 98 Histor!J of Pornograph!J (Hyde). 9. Histor!J of Seruality (Foucault). 2::1. :lot-

m

J5.. 28lnl H itchcock. Alfred. l2.l. ~ 2iIA lI ite. Shere. llll Hoff·Wilwn, Joan, 2:90 Holl!JlOOOd Musirol (Feuer), IJli. 291n3 Holmes. John C. l1ll Homosexuality, !!!., l2B.. l3Q, J]fi. 28ln1 Hooper, Tobe. I.9l Horney, Karen. 86 Horror film. 1.2.l. 1.28. lll. l.f!!l::1.9i.

mm

m

m

""

H ou~ton , Severle. 2!lO lIul1UIn fl!,'1lre In MotWn (Muybridge),

285,5 lI unter, Nan, !l1. ZS4n12 Hustler {periodical}. 2B. Hyde, H. Montgomery, 9.d.O il ysteria. 46-48, :!Q. 5J. 1;\!2, m

286,9

I Am Curiouf- lellow, 96. /ronagraphw photogrophique de III &l/pt.

tritre, fl Iconography,

"" ""

1.28. I.3O..=l3l.

~ ~

Identification. Su Viewe r identification Ideology: and cultural autonomy, 282117; and discourse, 282n7; Bnd legality. M; male supremacist, 1.1; and monogamy, patriarchal, 282n 7; of penetration , ~ sexual. 2t'.l..=2H; and sexual difference, ~ and subjectivity, 282n7 l U.I;e Th Wotch (VateUi). I..5l The Image (de Berg), ill Imaginar!J Signifier (Met1.). ""

m

Index

318 T/w< Imnwml Mr. TIM.< (Meyers), 96 Incest. 148-149, 170-171. 2l2.. 2ti!!. 291 115 Indianapolis, anti-pornography legislation in. 2& The IndMcreet Jewelt. See LeI bijoo:t irniiscrdl In tM Rea/m of Pu,/JS1jrt: (StudJar), 205 In the &alm of the Sen.re. (Oshima), 22.l lMil/iab/e (Daniels), lS!l. ~ com-

pared to Behind the Crull Door, 116.; and d issolved utopia, lTh. ~ ~ m and narT1lti""• .l1li; Bnd sad ie-

rna>:, 2OZ; and sadomasochism , In-

!1!!.. m

sexual numbers in , 175-

l16.. l.N; and ""lrnen's pleasure, 176_ m. lB1tid HrlUIIi& , ;!!!. ~ !!fu and sexuality, 3. 3b3!i. ~ ~ H,7- 148, 1M,; and 5exuallibe ... tion , H; and stag film, ~ 110. !1:2. !H; and visibility, !n::K 1M.; a nd \/oyeurism, 48.d.9;. will-to.. ~ 48_ 49 51 100; and wome n's pleasure, 901 Koch, Gertrud, ~ 9i. 289nll Ku hn, Annelle, ~ gL 284 n17 , 2.86n7 Kyrou , Ado , 285n4, 287nl

:u.

m.

laBelle, Beverly, 190 Lacan , J""'lues , ~ ~ 285286n7. 288n6 Ladas, Alice Kahn, 294n3 L.2dv Chatterley', L..I.>vt!r (Lawrence).

m

"

Language , Su DilCOurse Lardea u, ran ne, .&9. Law and legality, 5. 35. ~ and anti_ pornography legislation , ~ and anti . pornography mO'.'1lment , 1.2. l.L l8. :M; and beaver film, 91 and Comstock Law, M:::81;. and Du p Throat, 9!l::lllIl and exp\.oitation film . !16; and hard-core feature film . ~ and ideology, and modes of
2800'

Photography: and bodily motion studies, 36-40. 43-44. il; hi~tory of, ~ ontology of. ll!i; and pleilSu re. 36. 4i; pornographic. 27-28. 3!.!::::3.l; and realism , LK and rdenliD u:ruaIi.t, ~ and studies of hysteria, 41. ~

"','

The Pick-Up, 290n18 Plntinum Spanking. lllI Plato. ~~

PIn'lgiri (periodical), 293nl Pleuure, 6; and anllihi!atioll of other, and audibility, 291n2: and rommodity fetishism. 106-106; and confession, :!Q. 34-.35, §Q, Ig, ~ and diKOurse. l.l.B.; excess of. l.5i; and feminism, S::§.; and fetishism . t2. Hi and film apparatus. ~ ~ 44-45; and frenzy of the visible, ~ ~ !.Jl.Q; hegemonic, ll2; heterosexual, 22; and heterosexuality, and historical disrontinuity, S4-5S; history of, 8:t. 28lnl; and implantation of perversion. ~ 44-46: and involuntary bodily reI.fl; sponse, ~ No 95.. l.Ql. and knowledge , ;!, ;rr, 34-.16, 38-39. 45- 46. Q.1, ~ ~ 1M. l.6l, 235278-279; and masochism, ~ !§., ~ measureme nt of, :n. ill. ~ 278-279: and me mory. 236- 238; and narntive , 3!!:::>ll; and perversion , 101lQg, and phallic sexuality, ~ !Qg. U 2-113, Ill; phallogooentric. ~ and photography, ~ ~ proof of. ~ HI; representation of, lOO. tiL IN. 181-182: and sadism, t and sadoma.wchism. l.6. ~ sameness of male and female, 1iQ; and rdentiexual difference. exes, l.S3:::lSi:. and dissoh-ed utopia. lRL and female vi"",·er. 286n7 ; and fe_ tishism, ~ liZ; and hardrore feature film, g§§, 21,2, and inrommenmrability of dc~ire, l.82.; and integrated utopia. 168-171, 111; and in tersubj~-ctivity, 2.2.8; and masochism, 2..LQ. in, 22B. ~ and men i pl easure, a nd money shot . and patriarchy, 222: and phallic sexuality, !Qg, u.g, m. and phallogocentrism. 55-56: and pornugr:lllhic revisionism. ~ m and role-playing. 2.2.8; and sadism, and sadomasochism,

m

.u.

m

m

ill..

mm

m

W.

~ 225-2.26, ~den1i6 Kluali3. 35-36: and

and sepa· rated utopia, l.l!!i; and sexual discoone. ifi..!!§. and technology, J!.!.. :1§; and vie".." id e ntifieation, m and womeni pleasure. !Th, g2fi.

m

m

""

PoweT$ of lk8ire (S nitow et a1 .), ~ 26. Prl'1idential Commission on Pornograph y, 16 Pri mitivism: and film medium , 'ilL 60lll... ~ !IT. 287n2, 288n3, 288n4 ; and stag film. 60- 6 1, 63 - 6;:5, 67 - 68 , 70-71, N.. 7~-76,!H.. 91-92 , 287n2 Prince, Stewn. 2:9.2. Procreation . See Reproduction Prostitution, ~ 9-10, 1!. !!§.. !Q1, ~ 28lnl Protestantism , J1l,t PfVCho (Hitchcock), l.91. '1Jll Psychoanalysis, §.. ~ -Hi. 103-106. IT!.; and fem ini sm . l.89. 258- 259, 2&';-2.86n7, 294 - 295116: and fe lishism, and film medium , ~ ~ m and homosclua!ity. ~ and male scxual identity, 81-83; and mIlS· nchism, 211-212; and misogyny, !!6.; and object relations. 259. 295n7: a nd pen;s-en~y theory, ~ and

m

m

m

Judex phallocentrism, !:!§, 2i!!; and sadism, and sexual difference, 53~ 212.; and sexual fantasy, [ill; and social change. 2m; and stag film. 81~

82 Publk sphere, and sexual discourse, 8490,98 Pun i.shlllent 0/ Anne (Metzger), 1992!ll.~

Pygmalion (Shaw). l36

The Question of Pornogroph~ (Donnerstein). l.!Ifid81 Rab/n', Revenge {Mitchell Br.... ), !l5. Rabkin. Gerald, 58- 62, ~ :z;!, §l, ~ 285n4, 287nl. 288n7. 289018 Racism, lli1 11O Radway, Janice, 282n3, 293nJO Ramsaye , Terry, 285n5 Rape, ldd8. :!Q. llll. lffi. 275- 276 , 289018, 291n2, 292n3: representation

m

or, ~

~

J.18.

~

and separated utopia. 164- 166: aoo ....umen'. pleasure. lM..d..fi5 Rape in 0 Wort'iwuse. l&bltiS Reagan, Ronald , 16 Rl!age. Pauline, ll!. 89. Realism , !!i. 288n3; and film m..-dium, ~

l.8!bl8a. iii.

~ ggfu

and hard-core feature film. 168-169, 2Jl::.2.J2.. 2illt and integrnt~-d utopia, J.OO. liiS. J.:m. g[l; and musi_ cals. ~ and photograph y. 1M; and pornognophie r~'Vi.ionism. m and sadnmasochi.m. lOO. 2ill::2Q2.; and sound. J..2.2d..2,l Redbook (periodical). m 293n1 Reem., Harry. ill Reilic-~tion. fi. 289n9 Heik. Theodor. 293n8 Religion, lm::J.Qi. illZ. u.s: Re-Making Love (Ehrenreich et al.), 2L

m

ill

Rembar, Charles , 8.i. 89Represen tat iOfl; and ahhip , 12. H; compensatory aspect of. TI_ TIl.; of death. LOO. ~ of deSire , and escapism. 1.& of female body, ~ ~ '1ft. 22L and frenz)' of the visible, ~ and gender. m and genre conventions, J.2,l; of men's pleasure, in , 166d.69 Re-Vision (Doane et al. ), 294n2 Re,·isionism. pomogrJphi~': and Behind II~ Crun Door-Tile Sequel. 234 g,'l,1, m and conHict rewlution. 238and oo"ple~ .... riented hard core . 2Jl::Z'H. 238-239, 22Z; and dis_ solved utopia. m 2.5S: and education of desire . ~ and fetishism, 2:ill; and inkgrated utopia. 2.18 -239 ~ 2,2L ~ and men's pleasure. 21li; and money shot . m g,'il; and narrdtiyc. and phallic sexuality, Z1li; am] phalloc'Cntrism. m ~ and PeM'er-pleasure relation. and problematization of sex. 238 -219; and reali.m, 2t:i3.; and separated utopia. M and sexual discourse. 2§fu and social transgress ion , ~ and stag film , and Throat- Tu;-eltlll }ean After, 2li::.2.J,l; and ,'O},.,urism. m ~ and wome n's pleasure , 21Q, i l l Rice, John . 52 Rich . Adrienne. m 2,Ui Rich. B. Ruby, ~ 265 Ilil"y. Dell'se, 287n 13 Rimmer, Rohert, 291n5 Rohbe-Grille!. Alain . 252n4 Rooowick , D. N .. 2!l5. Rogers, Ginger, Hi. LllL 251 Role-playing, sexual, ~ and !'
m

a

~~ll3

Scientific ....mtrican (periodical), 31 Scott, Joan , 292n3, ~6 &rew (peril.H!ical), 100 MCTt't MUHtII1l (Kendrick), II Sedgwick, Eve Koso&ky, 2.89n1O Sen, ~ 292n5 SeMual EICDpt! (Leonard and Royalle),

"""""

fre nzy of the vhible, 2!ll. heterosexual, gL gQ!, ~ and fmat/4bh, 177- 178. and male plellllure, 2Ol; and

Seven, Bruce, rrg. i9S Sexology, ~!!Q, ~ ill!. ~

millis culture, il!fu and men's pleasure , g ~ and narrative, as nongenital sesuality, ill ~ ontology of, !\Ql; oscillation of subject In, 216-217, gg§, ~ and patrillTChy, m and perfonnance, 202- 200: and perversion, ~ and pleasure, 19.'S100. and power-pleasure relation, lTI. 2!:l3..:=2Ot. 217- 219, 222.. 225-226, ~ and problematization of ses, ggfu and problem of recognition, 293nI2: and realism, !.f!!1 2Ill::2:!:!2.; and repress ion of desire, 26- 27; IllI ritual, ~ ~ and role-playing, m ~ ~ and sadie-max,

SuorcUt Deoil, L2!l Su, Power; ond Pleasu re (Valverde), 29Sexual difference: and di§COUtSe, ~ and fetishism, ofl. oJ;!. ~ M. ~ ~ ill., ~ ~ and film medium , 41- 43: and frenJ;y of the visible, .53.; and hard-!!i,. 48-50, ~ !ll.. 147- 148, ~ lesbian, 21 male, gQ, 2J. ~ and male dominance, 1 ill::2Q.. IlL measurement of, ~ :;H, ~ i1 ~ M; mediatoo by t~'ChllOlogy, ~ and multiplicity, 113-117; nat ural . ~ and othern e .., 2Il; pa .. i"". l1bl13.. !TI. ~ 212-215; and patriarchy, 200; and pleasurc, ;!. 35-36 lfi!l.; politicization of. 89- 91 , j&; and

a.

m m

m

m

m

m m

m

m

m m

ru.

m

a.

m

power,

a. ~ g§. 34-36, i8. ~

155- 1.')6, 161- 162, lli1!. 170-172, problematization of, UQ. !§g, ~ 267-268, ffi reproducti''tl funetion of. !J!. ~ !..Qg. m safer, 241-242 , 244-245, ~ and science, 3::..'l. 147_148 and ldentia W.uali.! , l=i. 34-36, ~ ~ and sexual hygien e, 9-10, ~ and .sexual li beratiOIl , .ill. 14_15 gr,!!Q. ~ !..Qg. lift.. 21Sn!. Z84nI7; social romtruetion of, ;t g;t,'g!,!!§., ~ 28lnl ; social im portance of, 88-90, ~ "nd visibility,

m

m

"="

Sexual remlution, !Q. 14-15, g'l. !!Q. ~

1M!. l1!i. ~ 2J8

Shackleton, Alan, 193 Sha...., George Bernard, 85- 87, L'l6. Sherfey, Mary Jane, liK!

~

327

ShtWk of the Mutilated (Findlays), 292n2 Sign. (periodical), 284,,13 Sil,'tlrmall, !(aja, J..gg, ~ m 2Il. 288n6. 293n7, 294n6 Simpson, David, 29On2 Singin' in the Rain, 133. Sjostoot , Per, 2d1 Slasher Blm. lli.lll!. lru.. 193-194, ?m.

mm

m

_m22R

Smith, G. A., 66 Smith, ruchard, 99 S" itow, Alln , !J.. 25-27, !ill!. 284nI3, 284n15 Snuff. feminist crit ique of, l!!Q. geueric statw of, !J!Q. 192-194; and misogyn y, 100; nar ... ti"" of. lOOpublic reaction to, 189-190.

m

m

m

~

So.ap opera, 6. Soble, Alan,

!J..

~ 284nI8,

295112

Society: and construetion of gender, m .2l!1; and con ~truetion of pleasure, 1M; and film apparatUJ, ~ and man culture, ~ and psychoanalysis. and sexuality, ;t g;t ~ 88-90, 9500.. ~ 281nl; and social science, ~ N; and transgression, lOlL gQ. 30--.31 , ill!.. 263::2.!H Sodom and Gornorrnh (Mitchell Bros.), 102 Soft cote, !i. ~ g'l. 49-50. 1m.. Z84n 15 Something Wild (Demme), lilfi Sontag, Susan, 10-11, ~ L5l Sound, ;!Q, 291nl; absent in slag film , 59-60, J.gg; and beaver film, 21 and d iegesis, J.Zg; and fetishism, ~ 12,2; and film medium , ~ and Slm mu sic, J.Zg; and hard-core feature film , ll.l::l26; and inwluntary bodily response, 121- 122, !1fu and men's pleasure, lZ1; and money shot, 1M; in mU5 ical~, ~ nonsynchmno". , 122- 125; as proof of pleas ure, Th and realis m, 122--1 24; in SCIUa! numben , 122- 124 and synchronous speech, ~ lID.; and tcchllOlogy, lZl; and unified . ubjcct, l2£; and voyeu ris m. ~ and women's pleasure, ~ l25. The Sounds of Low: (Vyd ...), l25. Special effects, §1i. ~ 1.58-159, .lOO. .l92.. 2!:!.l::2!)2, lli Spectator. See Viewer S~lu'" of lhe Othe~ Woman (Irtgaray),

m

m

m.

m

mm

a

m

""'"

Index

328

m

Spe1vin, CeoTgina , ll9. Spinelli. AnthOlW 1M. l1ll Spivak. C ayatri , ll!2. lL'l

Sprinkle, Annie, 2,jQ Stag film. Z:::..B.. 3l: ahseuce of sou nd in, 59- 60. l22; in ad ult arcade., 75-76, N.. 9.ldI1; arousal function of. 74- 76: and beawr film. 96: closure in, !i9. zg, TIt wmparoo to hardOint in. 59- 60: lind meat shot, 12. 79-80. !,!,'1 and misogyny, 70- 71 , ~

!IT. !R. !1!!.. 290!,18 ; and

molley

.ho"

Slo'1/ of 0 (Rt!age), !It llI!I. Straye r, Chri s, ZlSn3 Striptease, 76 - 80, 92. Studlar, Caylyn , ill 211 A Subfrcl for the Rogue. GII/le'1/, 61.

m

"','

Subjectivity, :hi: and commodity fetish· i.m , !Q;!. 1.00; and desire, lTh. gM, 262.. and discourse, 282n7: and exteriority, ~ 2§2; female, ill, ~ lft9.. ~ 2.lQ, 258- 260, 2N::211: and ideology, 282n7; and interiority. g§Q, ~ and inteTSubjectivity, 22S. 227-228. g§Q, 262; male, 41_ 42 , 59-60, 82- 83, 1M. 2.lQ, 22.2; and phaUic sexuality, lOO. ~ 286n 7; preoedipal , K and representation, m unilled, ~ J..gg, 288n6 Subjec1 of Semiolia (Silverman), 288n6 Subordination, as key term in antipornography legi.lation , 2d. Supreme Court, 88- 90, 9!h91 Surveillance, ~ 50 Symboliution, ~ ~ 2.12.

m

m

zoo. m

N; and narrative, 60- 61. 63-64. 67:g, ~ !!2.; obsolesrence of,

Taboo, ~ ~ l:If.811. 200.

:21i and perforl11an~-e . 58-59, 77- 78; and pleasure. 80. !Y.. ~ and )XIrncr

TII,I;e Bllclr the Night (Lederer), 100 TII/Ir Din!! to Me (S pinell i), !..S1. l10 Tallmer, Abby. ZI. 229 A TlUte of Amhrwia (Hart), 263

n.

m

gr.phic " w isionis rn , and primitivi~m , 60- 61. 63-65, 67 - 68, 70- 71, N. ~!H. 91- 92, 287n2: and psychoanal ys is, 8 1- 82: and representatinn nf rap", 164- 166: and separated utopia, !Jil::lf!.l. ~ sexual aLiS in, 00 aud sexual discourse. &1 - 85: synia10f, lfi;t and viev.'er identiAration, ~ 70_ 71 , 73 _ 74, ~ 8O-81, !Q, 22.. lID; and \Uyeurism , 68-69 , I!.. SO_ 81 , 8.'1 _ 84 ~ aud wome n's plea. sure. ~ 233 Staigcr. Janet, !l,1 !H Stanford , Leland , ;rr, 39. 285n6 Stansell, Christi"",, g g§, 28-1,,13 Steinem, Gloria, l..LZ::ll1. 283nll Steiuer, C .."Orge, !.!. 15 Ste rnbe rg, Josef von. ':l2 StC\'Cns. Kinl y, J.:Y. Stewart, 1'00ter, ~ lL 283n9 St""-drt , Sosan, 283n8 Stimp..,n, Call ..,rin"" 284n 13 Stoller, Robert . 2.l.2::o.2l3 Slory of tlUl Eve (Bataille), ill Slo'1/ of J oo mllJ (Damiano), lW. 219-

222

291n5

Tavris, Carol , 293 - 294n1 Tt'Chnolog)' : and bod y, 3.. ~ and fetishism, 7l!.. ~ ~ of ~lm medium , '1 36--39, ~ ~ 51-52, HlQ; and frenzy of the visible, '1 :.!!i. ~ and perversion, !ll; and plewmre, J.. 38~ 45- 46, ~ lfi. ~ m as sexual mediator. ~ and sound, Ill; and tek'Ology, ~ and visibi lity, '1,ll, ~ 45- 46, ill::5J.. 91

Le ttllgraphute, :z.J Teleology, 185 Temple, Julien . 292n4

& '" TUIII Chain Saw Mf1mlcre (Hooper), llIl This Ser Which lr 11'01 One (Irigaray).

'"

Thompson, Kri stin, 63. M Thompson, Sharon , l[.ll&.. 284n13 Thorpe. Sharon, l48 A Thousand P/earu re, (Find lays), 292n2 Three Daughten (Royalle), ~ ~ addre~wd to ""men, ~ and f"male sexuality, 255- 257. g§Q; and inte-

329

lrlllex

m m

grated utopia, sexual numben in, 2.55..2.56. Throot- Twelve Yellr$ Afl~ r (Damiano), l5O. g[l; and CQnRict resolution , couples orientation of, ~ and Ideology of monogamy, m and inte_ grated utopia, ~ and memory of pleasure, 236-238; and pornographic revisionism, ~ sexual practice in , 23.'b2.36 Thurston , Carol, 2llI.. 282n5, 293nIO. 293nll Time (periodical), 231 Toll, Robert C. , 287n lll Tom. Tom. the Piper', Stln, 63::::li5. IiI Tootsie. 233 Top Hat, IH Touch of Her Flesh (Findlays), 29'2n2 Transgre.. ion, sodal, ~ and incest, J1l.; and narrative , 3!61l; and pornographic revision ism, ~ and sexual acts, l.lQ; and sexual fantasy, 2Q; and women's pleasure, 3.1 Traynor, Chuck. 156 Tropic of Cancer (Miller), 89 Turan, Ken neth, !!!i. 2il3

m

ult/sul (Joyce), 81

United State' of America vs. Sex (Nobile and Nadler), 282n8 United State' 1< Married Lot:e, 289n 17 United Statu v. Roth. Il&dm Urlxm Cowgirl.., l.2ll Urban Ueat (Neimi), ~ and dis_ wIved utopia. m sexual numbers in. '-'