Effect of Pornography on Violence Against Women

solution of porno on Violence Against WomenCritically assess the incase that the products of the contemporary erotica perseverance be both a cause of military group and discrimination directed against women and also intrinsically harmful.Everyone says Oh, women indispensability sex soft and pretty, like a Harlequin novel. Its as if women be organism protectedCandida Royalle (2000545)It is non the purpose of this essay to defend the contemporary pornography industry which to this day clay a dirty and -to a large extent- a male-dominated, exploitative business, but rather to generalise the reasons layabout this sad naive realism. carbon black made its first prominent appearance in feminist discourse in the late 70s, when feminist groups such as Women Against Violence in Pornography and the Media (WAVPM) embarked upon their anti-pornography campaign in the San Francisco embayment area1. The so-called sex wars of the 1980s brought about an unprecedented division within the feminist movement. Anti-pornography writers, such as Andrea Dworkin and Catharine MacKinnon -authors of the famous Minneapolis and Indianapolis ordinances2 advocated the censorship of porno pictural existent, on account of its role as a hold that is central to the subordination of women3. Other feminists put forth a liberal legal argument, invoking the First Amendment to the American Constitution, which guarantees freedom of speech. Two decades later, the pornography debate has retained its relevance in feminist discourse. There is settle down heated disagreement over three interrelated issues what is the definition of pornography? Does pornography cause force-out and discrimination against women? What is the best way to deal with pornography in the policy and legislation arenas? While critically assessing the anti-pornography thesis, I forget argue in turn that most sexually explicit graphic stuff is not the cause but can mirror the misogyny and exploitation that charact erizes modern societies and that far from being intrinsically harmful pornography can in fact be employed in the fundinger of feminist ideas.A necessary starting point if we are to understand pornography would be an analytically helpful definition. But this is itself one of the main points of disagreement between feminists. The pro-censorship side has emulated traditional definitions of pornography4 and equated sexual explicitness with violence and female subordination5. Dworkin understands pornography as the plat construct where sexist ideology thrives by exhibiting male supremacy, discernible in seven interwoven strains the might of the self, physical power, the power of terror, the power of naming, the power of owning, the power of money and the power of sex6. Contemporary porn depicts women as the helpless victims of men bound, tortured, humiliated, battered, urinated upon or merely taken and utilize. Evoking the Greek etymology of the word, Dworkin (199024) defines pornogr aphy as the graphic depiction of whores, (porne being the Greek for a cheap whore or sex slave). Thus pornography is conceived as something sexist, violent and exploitative by definition in other words, as an intrinsically harmful phenomenon.Even at this early stage, pro-censorship analysis seems to rest on shaky methodological grounds. First it involves a clearly circular argument which condemns pornography without trying to understand it, intimately like arguing that pornography is bad, because it is bad. Second, the cross-cultural analysis of Ancient Greece is dubious, if not on the whole a-historical, since pornography is not an ancient but a strait-laced neologism, invented in the 19th century, thus reflecting Victorian sensitivities rather than ancient realities. Third, the definition of porn as a field of violence and sexism logically entails a trait from other, sexually explicit material that is not violent, demeaning and exploitative, but is based on sentiments of mut uality and reciprocity. Defining this emerging category, usually referred to as Erotica, is a highly subjective endeavor and obviously unhelpful for an academic or a judge. Equating sexual explicitness to violence, misogyny and other value-judgments is not however counter productive to the search for a descriptive definition of pornography it is also untrue, since it is often the case that soft porn or even altogether non-sexual material can contain much more than disturbing scenes of violence and sexism than pornography itself 7. Fourth, most of the anti-porn literature has applied its definitions of pornography in a shady and inconsistent manner, jumping from the graphic depiction of whores to the more mainstream concept of porn as cheaply produced porno for instant consumption8 and sometimes to a more inclusive definition containing phenomena as diverse as fashion, TV commercials, sex toys and sex education9.Methodological concerns aside, anti-porn definitions of pornography entail positions that appear to contradict the very essence of feminism. Anti-porn pronouncements on good, sensitive Erotica vis--vis bad, abusive porn are essentially pronouncements about good and bad sexuality. At the risk of caricature, this entails restrictions on sexuality of Orwellian dimensions, and is contrary to the fights of the feminist, gay and lesbian movements for sexual liberation and diversity. wizard anti-porn author opines that erotica is rooted in eros, or passionate love, and thus in the idea of corroborative choice, free will, the yearning for a particular person, whereas in pornography the subject is not love at all, but domination and violence against women10. Statements like this one seem to imply an acceptance of old patriarchical stereotypes of the form men are aggressive and polygamous by nature, while women are passive and monogamous and that women do not, cannot or should not enjoy sex in itself. Paradoxically, Dworkins (1990) synoptic treatment of th e history of pornography exaggerates the passivity and helplessness of female victims and the violence of male domination to such an extent, that it unwittingly reinforces the very binary program stereotypes that feminism has historically fought to uproot. Her presentation of women in pornography as whores, is at best patronizing, if not prankish and insulting towards female porn-workers, who often choose to follow that mode of subsistence. The choices of porn-workers deserve as much gaze as those of women working in less stigmatized industries and, perhaps, even greater feminist solidarity11.Pro-censorship argumentation tends to revolve well-nigh two rhetorical devices. The first is the exaggeration of the amount and degree of violence contained in pornographic material, with the accumulation of undeniably disturbing images. The slide shows projected in WAVPM meetings and the material articulately described in Dworkins book have been handpicked for their shock-value and power t o disturb. Drawn primarily from the underground cultures of Bizarre, Bestiality and SM, most of these images are largely unrepresentative of the mainstream market, which is both highly diversified and specialized. Specialization is a key-point because of the basic fact that incompatible people have different turn-ons. Given that some people may find publicly disturbing, what others good deal as privately stimulating is no good reason to label porn in its aggregate as intrinsically offensive. The second rhetorical device lies in the argument that pornography is not bonny a representation of imaginary violence but also a recorded reality or as put by MacKinnon, a documentary of abuse12. Again this argument misleadingly conflates reality with representational fantasy. To claim that every woman -or man- that appears to be abused in a porn-movie is actually abused, is almost as nave as claiming that every man shot-dead in, say, the Terminator, is actually dead. The anti-porn argument fails to take into love factors such as artifice, acting and role-playing13. While genuine case of abuse are not rattlebrained from the porn industry, the vast majority of depictions of violence occur in a role-playing context which carefully ensures the refuge of the actors.My view is that understanding pornography requires a descriptive definition which, instead of passing judgments over the virtuous credentials and political consciousness of its participants, focuses on the realities of the porn industry. In this light, modern pornography, as we know it, is the graphic representation of sexually explicit material, mass-produced and mass-consumed with the purpose of sexual arousal. Although it is not intrinsically evil, this industry is morally no better than the society that produces it.The effect of sexually explicit material on its viewers and society at large is the second main component of the pornography debate. Anti-porn analysis has insisted on a theory of causality, whereby real rape, physical abuse and humiliation of women by men occur as a direct result of their exposure to the hateful values14 of pornography. In Dworkins own words at the heart of the female condition is pornography it is the ideology that is the source of all the rest15. By study the representation of violence with injurious action, Dworkin evokes what neo-Aristotelian theorists of representation have termed as the Mimesis-model. Derived from the Greek word mimesis, meaning burlesque or reproduction, the model positions the real both before and after its representation16.At a supposed level the Mimesis-model can be sufficiently challenged by another Aristotelian concept, that of Catharsis. This would entail that far from reducing men to perpetrators of violence, exposure to the mock-violence of pornography -with all its artistic conventions and restrictions- would relieve them of the violent dispositions that lay hidden in their psyche, in the same way that, say, a horro r movie may give us fun without inciting violence and blood-thirst. The Catharsis-model fits particularly well to the very nature of pornography. Founded on a much-attested human desire for an insouciant breach of taboo, porn tends to represent situations and feelings that may well be antisocial and very often unconnected from what the actual social practice is. Japan -a country with one of the lowest rape rates world-wide- sustains a huge pornographic industry that specializes in violence and sexual domination17. The anti-pornography perceptive fails to grasp this crucial distinction between social reality and harmless fantasy18. In terms of empirical evidence, psychological experiments on the so-called correlation between exposure to porn and violent activity are, at best, inconclusive19. Historical and cross-societal analysis is as unpromising for the Mimesis-argument. Porn, in its modern sense, is a very recent creation20. And yet, the exploitation of women by men had preda ted it by thousands of years. At the same time, political systems that adhered to the systematic suppression of pornographic representations, such as the Soviet conglutination or modern Islamic states, had not been less exploitative or violent.And yet, many anti-porn thinkers have insisted on censorship, despite the fact that this insistence has produced an awkward alliance with moral traditionalists from the Right21. If passed, the 1984 Minneapolis ordinance would have reinvented pornography as a criminal offence, distinct from obscenity. This would have allowed women to take civil action against anyone involved in the production, or distribution of pornography, on the grounds that they had been harmed by its portrayal of women. In the passionate words of Andrea Dworkin (1990224) we will know that we are free when the pornography no longer exists. As long as it does exist, we moldiness understand that we are the women in it used by the same power, subject to the same valuation, as the yucky whores who beg for more. If only, pornography was, indeed, the mother of all evil. Then sexism could be uprooted at one, simple, legislative stroke. But unfortunately, sexism, violence and exploitation are endemic to the economic structure of the modern society and pervasive of all our media. Pornography seems to have been singled out as a scapegoat for all forms of sexual prejudices in todays world. The long-standing social stigma and visual honesty of the industry made it an easy target to right-wingers and left-wingers alike.Censorship has not worked in the past and there is no reason to believe that it will work in the future. I believe that the only viable solution to the pornography problem is the exact opposite of censorship, namely support for the Politics of Representation22. Women should try to capture pornography, as producers, script-writers and directors, in a manner consistent with earlier feminist ventures into other male-dominated fields, such as literatur e, politics, media, religion, education and science. Going legit, would not only mean that society as a whole will take a less hypocritical stance to the realities of pornography but also that regulation would guarantee better working conditions for female porn-workers (e.g. unionization, safe-sex, better security, health and cleanliness)23. Most importantly establishing a feminine perspective within the industry would counterbalance the male bias from which it now suffers. next the example of ventures such as Femme Productions -launched by former porn-worker Candida Royalle and targeting a couple market- sexually explicit material written and produced by women can celebrate womens right to pleasure without complying to sexism and exploitation24.Pro-censorship feminists have been mistaken in defining pornography as problem. The explicit representation of sexual scenes is neither intrinsically harmful nor a direct cause of violence. While men retain the reigns of an industry plague d with social stigma, porn will hold on to be biased and exploitative. Yet, in the right hands, pornography can become an instrument for feminist action.BIBLIOGRAPHYBarker, I. V. (2000) redaction Pornography, in D. Cornell ed, womens liberation movement and Pornography, Oxford Readings in feminism, Oxford Oxford University tweet, pp 643- 652Butler, J. (2000) The Force of Fantasy Feminism, Mapplethorpe, and Discursive Excess, in D. Cornell ed, Feminism and Pornography, Oxford Readings in Feminism, Oxford Oxford University Press, pp 487-508Carter, A. (2000) Polemical Preface Pornography in the Service of Women, in D. Cornell ed, Feminism and Pornography, Oxford Readings in Feminism, Oxford Oxford University Press, pp 527-539Cornell, D. (2000) Pornographys Temptation, in D. Cornell ed, Feminism and Pornography, Oxford Readings in Feminism, Oxford Oxford University Press, pp 551-68Dworkin, A. (1990) Pornography Men Possessing Women, capital of the United Kingdom The Womens Press Ltd C. A. MacKinnon (1988) Pornography and Civil Rights A sore Day, Minneapolis Organizing Against PornographyKilmer, M.F. (1997) Painters and Pederasts Ancient Art, Sexuality, and Social History,in M. favorable and P. Toohey eds Inventing Ancient Culture Historicism, Periodization, and the Ancient World, London, pp 36-49.MacKinnon, C. A. (1993) Only Words, in D. Cornell ed, Feminism and Pornography, Oxford Readings in Feminism, Oxford Oxford University Press, pp 94-120Rodgerson, G. E. Wilson ed (1991) Pornography and Feminism the Case Against Censorship, Feminists Against Censorship, London Lawrence WishartRoyalle, C. (2000) Porn in the USA, in D. Cornell ed, Feminism and Pornography, Oxford Readings in Feminism, Oxford Oxford University Press, pp 540-550Rubin, G. (1992) Misguided, solemn and Wrong an Analysis of Anti-pornography Politics, in A. Assiter and A. Carol ed, Bad Girls and Dirty Pictures the Challenge to Reclaim Feminism, London Pluto Press, pp 18-40Russell, D. E. H. (2000) Pornography and Rape A Causal Model, in D. Cornell ed, Feminism and Pornography, Oxford Readings in Feminism, Oxford Oxford University Press, pp 48-93Sutton, R.F., jr. (1992) Pornography and Persuasion on Attic Pottery, in A. Richlin ed, Pornography and Representation in Greece and Rome, New York, pp 3-35.Footnotes1 Rubin (199218)2 See Dworkin McKinnon (1988)3 MacKinnon in the Minneapolis hearings, cited by Rodgerson Wilson (199111)4 e.g. the written, graphic or other forms of communication intended to excite bestial feelings, in the American Heritage Dictionary of the English Language, cited in Rubin (199225).5 MacKinnon (199322)6 Dworkin (199024)7 Rubin (199224, 26)8 e.g. compare pp 81 and 218 in Dworkin (1990)9 Rubin (199228)10 Gloria Steinem, cited in Rubin (199228)11 Cornell (2000551). For financial incentives for joining the porn industry see Royalle (2000541-2)12 cited in Rubin (199231)13 For an excellent analysis of the dissimilarity between real violence and SM role-playing see Royalle (2000545-6)14 Dworkin (199024)15 Dworkin, cited in Rubin (199234)16 Butler (2000448)17 Sutton (199228)18 Rubin (199219) Royalle (2000546)19 Rubin (199230)20 Rodgerson Wilson (199167)21 Barker (2000643)22 Cornell (2000553)23 Royalle (2000548) Rubin (199233-4) Cornell(2000 552-3)24 Cornell (2000564)