With each new technological advance, pornography has proliferated and degraded in quality. Today, porn is everywhere, but where is it art? 25,000 Years of Erotic Freedom surveys the history of pornography and argues that the success and vibrancy of a society relates to its permissiveness in sexual matters.
This history of erotic art brings together some of the most provocative illustrations ever published, showcasing the evolution of pornography over diverse cultures from prehistoric to modern times. Beginning with the Venus of Willendorf, created between 24,000-22,000 bce, and book-ended by contemporary photography, it also contains a timeline covering major erotic works in several cultures. 25,000 Years of Erotic Freedom ably captures the ancient and insuppressible creative drive of the sexual spirit, making this book a treatise on erotic art.
Twenty-five years after the start of the feminist sex wars, pornography remains a flashpoint issue, with feminists locked in a familiar argument: Are women victims or agents? In At Home with Pornography, Jane Juffer exposes the fruitlessness of this debate and suggests that it has prevented us from realizing women's changing relationship to erotica and porn.
Over the course of these same twenty-five years, there has been a proliferation of sexually explicit materials geared toward women, made available in increasingly mainstream venues. In asking "what is the relationship of women to pornography?" Juffer maintains that we need to stop obsessing over pornography's transgressive aspects, and start focusing on the place of porn and erotica in women's everyday lives. Where, she asks, do women routinely find it, for how much, and how is it circulated and consumed within the home? How is this circulation and consumption shaped by the different marketing categories that attempt to distinguish erotica from porn, such as women's literary erotica and sexual self-help videos for couples?
At Home with Pornography responds to these questions by viewing women's erotica within the context of governmental regulation that attempts to counterpose a "dangerous" pornography with the sanctity of the home. Juffer explorers how women's consumption of erotica and porn for their own pleasure can be empowering, while still acting to reinforce conservative ideals. She shows how, for instance, the Victoria's Secret catalog is able to function as a kind of pornography whose circulation is facilitated both by its reliance on Victorian themes of secrecy and privacy and on its appeals to the selfish pleasures of modern career women. In her pursuit to understand what women like and how they get it, Juffer delves into adult cable channels, erotic literary anthologies, sex therapy guides, cyberporn, masturbation, and sex toys, showing the varying degrees to which these materials have been domesticated for home consumption.
Representing the next generation of scholarship on pornography, At Home with Pornography will transform our understanding of women's everyday sexuality.
It began when she was a teenager with an awareness of her body and the reaction other people had to it. It continued with the realization that women's bodies often gave them a strange power over men. As an adult, it became a fascination with professional sex workers, leading to a plunge into their world. Bare follows the author and her fellow dancers through Seattle strip clubs and bachelor parties - exploring in riveting detail Eaves's own motivations and behavior, as well as those of her co-workers - as they make their way through the sometimes exhilarating, often disturbing world of stripping.
Bare demands that we take a closer look at the way sexuality is viewed in our culture: what, if anything, constitutes "normal" desire; the ethics of swapping money - or anything else - for sex; and how women and men navigate the perilous contradictions and double standards that make up today's socio-sexual conversation.
Behind the Pink Curtain takes the reader on a wild joy ride deep into the hinterlands of Japanese culture, society and radical politics by way of the weird but wonderful world of the Pink Film and Roman Porno genres. Behind the Pink Curtain focuses on the art and industry of one of the most notorious sectors of Japanese filmmaking, the erotic Pink Film, or pinku eiga genre, and the closely related Roman Porno films produced by Nikkatsu studios from 1971 to 1988. A phenomenon distinct from the cheaply-produced hardcore Adult Video (AV) market, from the early 60s onwards major Japanese film studios and independent producers alike have kept up a conveyor belt level of output of pornographic features intended purely for cinema release. Still today, just short of 100 such titles are shot on 35mm every year intended for screening in a specialist network of adult cinema across the nation. In recent years, many have found themselves released on DVD in the West or screened at international film festivals, while many of Japan's most noted filmmakers today have cut their teeth in this industry. Just how close are the links between the arthouse and the grindhouse in Japan? Read about the ins and outs of Japanese censorship from the wartime onwards, and how topless deep sea diving girls came to woo local audiences in the 50s. Learn how a TV nature documentary maker ended up helming nude female Tarzan movies, and how 60s mavericks Koji Wakamatsu and Masao Adachi met up with John and Yoko at Cannes while on the way to the Golan Heights to make a film about Palestinian revolutionaries. How Deep Throat's Harry Reems wound up in Tokyo starring in a zany sex comedy about a penis transplant gone awry, and how one of Japan's most famous literary figures ended up the subject of the country's first gay porno movie. How one of Nikkatsu's leading directors went it alone to make a film about powerboat racing and ended up in the bad books of the Yakuza, and how the anti-Bush sex farce Horny Home Tutor: Teacher's Love Juice came to be re-titled as The Glamorous Life of Sachiko Hanai and became one of the most talked about Japanese films of recent years, playing at over twenty international film festivals. Based on extensive interviews with many of the leading figures in the field, Behind the Pink Curtain is a colorful and exhaustive trawl through Japan's most vibrant and prolific filmmaking sector.
The films that society has termed pornographic movies have been with us for over a century now, since the first flickering kinetoscopes stumbled into life in 1889. Yet beyond a handful of scholarly tracts, and a few glancing references in certain Hollywood histories, there is no modern history of the subject available. Black and White and Blue fills that void. Taking as its cut-off point the late 1970s, when the advent of the home VCR irrevocably changed the face of the adult film industry, Black and White and Blue celebrates a world of anonymously masked women and curiously black-sock-clad men, whose movie immortality was attained in the time it took to exhaust a roll of film. There were no artificial breasts when the first stags were made, no tattooed and pierced members, and no concept of trick photography. We revisit a time when dingy back street cinemas aired their wares beneath a "members only" sign, and a climate in which the police waited as patiently to bust the participants as audiences queued to watch them, while "polite society" looked on in (often hypocritical) disgust, unable to believe that filth like this even existed. With exclusive interviews, descriptions of over 300 films, and a conversational style, this book will represent a complete and in-depth survey of the adult film, from shaky, flickering black-and-white silents to the first flowering of the lavish modern-day production.
In the second half of the nineteenth century, several thousand impoverished young Jewish women from Eastern Europe were forced into prostitution in the frontier colonies of Latin America, South Africa, India, and parts of the United States by the Zwi Migdal, a notorious criminal gang of Jewish mobsters.
Isabel Vincent, acclaimed author of Hitler's Silent Partners, tells the remarkable true story of three such women--Sophia Chamys, Rachel Liberman, and Rebecca Freedman--who, like so many others, were desperate to escape a hopeless future in Europe's teeming urban ghettos and rural shtetls. Bodies and Souls is a shocking and spellbinding account of a monumental betrayal that brings to light a dark and shameful hitherto untold chapter in Jewish history--brilliantly chronicling the heartbreaking plight of women rejected by a society that deemed them impure and detailing their extraordinary struggles to live with dignity in a community of their own creation.
In a book that completely changes the terms of the pornography debate, Laura Kipnis challenges the position that porn perpetuates misogyny and sex crimes. First published in 1996, Bound and Gagged opens with the chilling case of Daniel DePew, a man convicted-in the first computer bulletin board entrapment case-of conspiring to make a snuff film and sentenced to thirty-three years in prison for merely trading kinky fantasies with two undercover cops.
Using this textbook example of social hysteria as a springboard, Kipnis argues that criminalizing fantasy-even perverse and unacceptable fantasy-has dire social consequences. Exploring the entire spectrum of pornography, she declares that porn isn't just about gender and that fantasy doesn't necessarily constitute intent. She reveals Larry Flynt's Hustler to be one of the most politically outspoken and class-antagonistic magazine in the country and shows how fetishes such as fat admiration challenge our aesthetic prejudices and socially sanctioned disgust. Kipnis demonstrates that the porn industry-whose multibillion-dollar annual revenues rival those of the three major television networks combined-know precisely how to tap into our culture's deepest anxieties and desires, and that this knowledge, more than all the naked bodies, is what guarantees its vast popularity.
Bound and Gagged challenges our most basic assumptions about America's relationship with pornography and questions what the calls to eliminate it are really attempting to protect.
Prostitution thrived in pioneer Colorado. Mining was the principal occupation and men outnumbered women more than twenty to one. Jan MacKell provides a detailed overview of the business between 1860 and 1930, focusing her research on the mining towns of Cripple Creek, Salida, Colorado City, and similar boomtown communities. She used census data, Sanborn maps, city directories, property records, marriage records, and court records to document and trace the movements of the women over the course of their careers, uncovering work histories, medical problems, and numerous relocations from town to town. She traces many to their graves, through years filled with abuse, disease, narcotics, and violence.
MacKell has unearthed numerous colorful and often touching stories, like that of the boy raised in a brothel who was invited to play with a neighbor's children and replied, "No, my mother is a whore and says I am to stay at home."
"Delicacy, humor, respect, and compassion are among the merits of this book. Although other authors have flirted with Colorado's commercial sex, Jan MacKell provides a detailed overview. She has been researching these elusive women for the last fifteen years. Such persistence allows her to offer rich detail on shady ladies who rarely used their real names or even stuck with the same professional name for long."--Thomas J. Noel, from the Introduction