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Dirty Looks: Women, Pornography, Power

by Pamela Church Gibson (Editor), Roma Gibson (Editor)

Other authors: Carol J. Clover (Introduction), Andrea Dworkin (Contributor), Bette Gordon (Contributor), Karyn Kay (Contributor), Laura Kipnis (Contributor)12 more, Gertrud Koch (Contributor), Liz Kotz (Contributor), Grace Lau (Contributor), Catharine MacKinnon (Contributor), Anne McClintock (Contributor), Lynda Nead (Contributor), Lynne Segal (Contributor), Annie Sprinkle (Contributor), Chris Straayer (Contributor), Maureen Turim (Contributor), Jennifer Wicke (Contributor), Linda Williams (Contributor)

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Pornography produces a mixture of gut reactions in most people: fascination, guilt, disgust, rage. What it doesn't often stimulate is an open mind and reasoned discussion. Women, who are the subject of much pornographic material, have much at stake in the issue. So it is not surprising that campaigns in favour of increased censorship should have recruited women to their ranks. But there are good reasons for women to resist the rush towards moral outrage. This collection of essays, all by women, shows that the issues are both more complex and more interesting than the censorship lobby allows. Lynne Segal directly challenges the easy assumption that pornography causes violence towards women. Linda Williams argues that to repress the pornographic depiction of 'deviant' activity runs dangerously close to the outlawing of deviance itself. One major argument against pornography is that it always involves the domination and degradation of Women. As several of these essays show, this claim simply does not survive serious investigation; male desires for submission are a mainstay of visual and written pornography. This book deals not only with theory but also with practice, examining the shifting boundaries between art and pornography. Two essays on the female porn-performer Annie Sprinkle demonstrate that wit, intelligence and feminist awareness are not incompatible with a pornographic imagination. Photographer Grace Lau disarmingly explains the fun she gets from photographing the sexually unconventional.… (more)
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Author nameRoleType of authorWork?Status
Gibson, Pamela ChurchEditorprimary authorall editionsconfirmed
Gibson, RomaEditormain authorall editionsconfirmed
Clover, Carol J.Introductionsecondary authorall editionsconfirmed
Dworkin, AndreaContributorsecondary authorall editionsconfirmed
Gordon, BetteContributorsecondary authorall editionsconfirmed
Kay, KarynContributorsecondary authorall editionsconfirmed
Kipnis, LauraContributorsecondary authorall editionsconfirmed
Koch, GertrudContributorsecondary authorall editionsconfirmed
Kotz, LizContributorsecondary authorall editionsconfirmed
Lau, GraceContributorsecondary authorall editionsconfirmed
MacKinnon, CatharineContributorsecondary authorall editionsconfirmed
McClintock, AnneContributorsecondary authorall editionsconfirmed
Nead, LyndaContributorsecondary authorall editionsconfirmed
Segal, LynneContributorsecondary authorall editionsconfirmed
Sprinkle, AnnieContributorsecondary authorall editionsconfirmed
Straayer, ChrisContributorsecondary authorall editionsconfirmed
Turim, MaureenContributorsecondary authorall editionsconfirmed
Wicke, JenniferContributorsecondary authorall editionsconfirmed
Williams, LindaContributorsecondary authorall editionsconfirmed
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Related movies
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Pornography produces a mixture of gut reactions in most people: fascination, guilt, disgust, rage. What it doesn't often stimulate is an open mind and reasoned discussion. Women, who are the subject of much pornographic material, have much at stake in the issue. So it is not surprising that campaigns in favour of increased censorship should have recruited women to their ranks. But there are good reasons for women to resist the rush towards moral outrage. This collection of essays, all by women, shows that the issues are both more complex and more interesting than the censorship lobby allows. Lynne Segal directly challenges the easy assumption that pornography causes violence towards women. Linda Williams argues that to repress the pornographic depiction of 'deviant' activity runs dangerously close to the outlawing of deviance itself. One major argument against pornography is that it always involves the domination and degradation of Women. As several of these essays show, this claim simply does not survive serious investigation; male desires for submission are a mainstay of visual and written pornography. This book deals not only with theory but also with practice, examining the shifting boundaries between art and pornography. Two essays on the female porn-performer Annie Sprinkle demonstrate that wit, intelligence and feminist awareness are not incompatible with a pornographic imagination. Photographer Grace Lau disarmingly explains the fun she gets from photographing the sexually unconventional.

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