Hard Core: Power, Pleasure, and the "Frenzy of the Visible", Expanded edition / Edition 1 available in Paperback
In this now-classic study, Linda Williams moves beyond the impasse of the anti-porn/anti-censorship debate to analyze what hard-core film pornography is and doesas a genre with a history, as a specific cinematic form, and as part of contemporary discourse on sexuality. For the 1999 edition, Williams has written a new preface and a new epilogue, "On/scenities," illustrated with 25 photographs. She has also added a supplementary bibliography.
|Publisher:||University of California Press|
|Edition description:||First Edition|
|Product dimensions:||6.00(w) x 9.00(h) x 1.00(d)|
About the Author
Linda Williams is Professor of Film Studies at the University of California, Berkeley, and the author of Figures of Desire: A Theory and Analysis of Surrealist Film (California, 1981) and editor of Viewing Positions: Ways of Seeing Film (1995).
Table of Contents
Preface Foreword 1. Speaking Sex: "The Indiscreet Jewels" 2. Prehistory: The "Frenzy of the Visible" 3. The Stag Film: Genital Show and Genital Event 4. Fetishism and Hard Core: Marx, Freud, and the "Money Shot" 5. Generic Pleasures: Number and Narrative 6. Hard-Core Utopias: Problems and Solutions 7. Power, Pleasure, and Perversion: Sadomasochistic Film Pornography 8. Sequels and Re-Visions: "A Desire of One's Own " Conclusion Epilogue Notes Works Cited Supplementary Bibliography
Most Helpful Customer Reviews
Williams argues that filmed pornography went through a trajectory in the twentieth century of increasing attention to the problem of women¿s pleasure (or of how to represent women¿s pleasure), which meant that pornographic films went from narrativeless ¿stag¿ films to narratives that, if not great storylines, actually attempted coherence. Stags didn¿t feature ¿money shots¿ (male ejaculation) as late 20th-century porn did; she argues that the male money shot is often a stand-in for female orgasm, which lacks the same type of visual evidence. As she points out, the term ¿money shot¿ unites commodification and sexuality as well as visuality. Twenty years on, I can¿t help but want another chapter about internet pornography, gonzo porn (in contrast to the feature films she argues were at least responding to, if not incorporating, feminist critiques in that they no longer depicted rape as pleasurable for the victim), and the apparent return of the non-narrative stag-type film that¿s just a bunch of sex acts.
Created a whole discipline that has yet to produce anything to surpass this revolutionary work of looking clearly.