JUMP CUT
A REVIEW OF CONTEMPORARY MEDIA

 

 

Notes

1. Elsewhere, I have argued myself that the transition of pornographic films from clubs to cinemas likely effected a similar change; see “Dream-Cum-Truth: Postmodern Narrativity and Hardcore Porn,” in Literature and Visual Culture, ed. Dagný Kristjánsdóttir (Reykjavik: University of Iceland Press, 2005), 394-408. [return to page 1 of essay]

2. Joan Hoff, “Why Is There No History of Pornography?”, in For Adult Users Only: The Dilemma of Violent Pornography, eds. Susan Gubar and Joan Hoff (Blooomington: Indiana UP, 1989), 17-46, 23. On the history of the concept of pornography, see Walter Kendrick, The Secret Museum: Pornography in Modern Culture (New York: Viking, 1987); on that of masturbation, see Thomas Laqueur, Solitary Sex: A Cultural History of Masturbation (New York: Zone Books, 2003).

3. For these uses, see respectively: Geoffrey Gorer, "The Pornography of Death," in Death, Grief, and Mourning (New York: Anchor Books, 1965), 192-199; Evangelos Tzialiaz, “Torture Porn and Surveillance Culture,” Jump Cut 52 (2010); and Susie Bright, How to Write a Dirty Story: Reading, Writing, and Publishing Erotica (New York: Fireside, 2001). For a representative voice of the 1920s, see Virginia Woolf, “The ‘Censorship’ of Books,” The Nineteenth Century and After (April 1929): 446-447. Readers of Scandinavian languages can find a more detailed historical exposé in my Bara för dig: pornografi, konsumtion, berättande (Stockholm: Vertigo, 2009), especially 42-45 and 95-141.


To topPrint versionJC 53 Jump Cut home

Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 2.5 License.