Hard Core: Power, Pleasure
From The Art and Popular Culture Encyclopedia
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| ===Fetishism and Hard Core: Marx, Freud, and the "Money Shot"=== | ===Fetishism and Hard Core: Marx, Freud, and the "Money Shot"=== | ||
| :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. Of course, this depends on the outlook of the producer, but one thing is for sure: if you don't have the come shots, you don't have a porno picture. Plan on at least ten separate come shots. --[[Stephen Ziplow]], ''The Film Maker's Guide to Pornography'' | :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. Of course, this depends on the outlook of the producer, but one thing is for sure: if you don't have the come shots, you don't have a porno picture. Plan on at least ten separate come shots. --[[Stephen Ziplow]], ''The Film Maker's Guide to Pornography'' | ||
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| + | "Unlimited female orgasmic capacity" --Steven Marcus in ''[[The Other Victorians]]'' | ||
| ===Generic Pleasures: Number and Narrative=== | ===Generic Pleasures: Number and Narrative=== | ||
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Hard Core: Power, Pleasure, and the “Frenzy of the Visible” (1989) is an academic study of pornography by American scholar Linda Williams. It details and analyzes the history and forms of pornographic films. "Frenzy of the visible" refers to the Jean-Louis Comolli dictum from "Machines of the Visible" (1971).
Amongst other things Linda Williams concludes that facials are a fetish or a perversion. She states "The money shot is thus an obvious perversion -in the literal sense of the term, as a swerving away from more "direct" forms of genital engagement- of the tactile sexual connection."
From the publisher
- "In academic prose, film professor Williams of the University of California offers a graphic analysis of hard-core porno movies such as Deep Throat, as well as early, anonymous stag flicks. She finds that the newer, "softer" X-rated rental videos "show a more genuinely adult quality" than earlier videos. She ponders the "utopian problem-solving intent" of the hard-core genre and makes specious comparisons between blue movies, Hollywood musicals and films like Dirty Dancing. Sadomasochistic porn films, she claims, let viewers experience "a clearer confrontation with the oscillating poles of our gendered identities and the role of power in them." A critic whose professed goal is to understand film pornography, and who opposes those who would censor it, Williams begins this obfuscating study by analyzing the portrayal of women in the 19th-century kinetoscope, prototype of the motion-picture projector.
TOC of the 1999 edition
For the 1999 edition, Williams has written a new preface and a new epilogue, "On/scenities," illustrated with 26 photographs, and has added a supplementary bibliography.
Speaking Sex: "The Indiscreet Jewels"
The Indiscreet Jewels refer to the vagina in the famous novel by Denis Diderot. Le Sexe qui parle is mentioned and Michel Foucault's 'scientia sexualis' enters the stage. The sub-chapter
The Elusive Genre of Pornography
This section provides an overview of the historiography of pornography and the problem of its definition. This overview starts with H. Montgomery Hyde's A History of Pornography (1964), moves on to Susan Sontag's '"The Pornographic Imagination" (1969), Peter Michelson' The Aesthetics of Pornography (1971) and George Steiner's "Night Words". It ends with Walter Kendrick's The Secret Museum: Pornography in Modern Culture (1987).
The Meese Commission and Women Against Pornography
Meese Commission: "Pornography is degrading to women ... Pornography is the theory; rape is the practice." - Antipornography viewpoints.
The Anti-Censorship Feminists
Gayle Rubin - Sex-positive feminism
Prehistory: The "Frenzy of the Visible"
Scientia Sexualis and The origin of porno
Albert Goldbarth's poem "The Origin of Porno" - "frenzy of the visible" (Jean-Louis Comolli) - Eadweard Muybridge's prurient interests - Freud - Laura Mulvey's "Visual Pleasure and Narrative Cinema" - Charcot and the Iconographie photographique de la Salpêtrière
On Woman leaning against a chair on which another woman is smoking a cigarette by Eadweard Muybridge:
- "in this last instance Muybridge has abandoned movement altogether for the highly charged emotional tone of what could only be called longing. Women's bodies are quite simply fetishized in these motion studies".
Hard Core
The Stag Film: Genital Show and Genital Event
- "The stag film or dirty movie was, and is, the cinema verite of the forbidden." --Dirty Movies
- "[Men in stag films] exist only as surrogates for the male audience. They are the means whereby the individual fantasist possesses his lust's desire, an image idealized as often as it is demeaned. To say that both men and women are degraded equally because of the specialization of their performance seems as sensible as claiming that clowns, acrobats, or ball players are degraded because as performers they are not visible in their full humanity." --Dirty Movies
John Berger's Ways of Seeing (1977) - genital show and genital event
Primitivism
Fetishism and Hard Core: Marx, Freud, and the "Money Shot"
- 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. Of course, this depends on the outlook of the producer, but one thing is for sure: if you don't have the come shots, you don't have a porno picture. Plan on at least ten separate come shots. --Stephen Ziplow, The Film Maker's Guide to Pornography
"Unlimited female orgasmic capacity" --Steven Marcus in The Other Victorians
Generic Pleasures: Number and Narrative
Hard-Core Utopias: Problems and Solutions
Power, Pleasure, and Perversion: Sadomasochistic Film Pornography
Sequels and Re-Visions: "A Desire of One's Own"
See also
