Pornography (from Greek πόρνη "prostitute" and γραφία "writing") (more informally referred to as porn or porno) is the representation of the human body or sexual activity with the goal of sexual arousal. It is similar to, but distinct from, erotica, though the two terms are often used interchangeably.
In general, "erotica" is used to imply artistic quality, sensuousness, or implied sexuality, whereas "pornography" tends to signify explicit sexual acts. The line between "erotica" and "pornography" is often highly subjective and the former term is often used in a more positive sense while "pornography" tends to have more negative connotations.
Pornography may use any of a variety of media — written and spoken text, photos, sculpture, drawings, moving images (including animation), and sounds such as heavy breathing and sexually related sounds. Pornographic films combine moving images, spoken erotic text and/or other erotic sounds, while magazines often combine photos and written text. Novels and short stories provide written text, sometimes with illustrations. A live performance may also be called pornographic.
The term "pornographic" is sometimes used to denote an opinion that something which should be discreet, private or which should be personal, is being openly and indecently placed in the public eye beyond social norms.
Erotica and pornography are often confused. One definition of erotica is the depiction of sexual acts, a depiction which may or may not be arousing . In some cases, the depiction has a religious significance, usually relating to fertility. In some civilizations, sexual activity was viewed an everyday part of life. For example, in India, erotic temple carvings were created, and the Kama Sutra was written. The Kama Sutra was a guide to Indian courtiers seeking a fulfilling life, and it included sections on sexuality, in addition to discussions on etiquette, sports, food, and other issues. Similarly, Japanese erotic woodcuts called Pillow Books were traditionally given to newly married couples as a form of sex education. These depictions of sex were made for a variety of purposes, including religious worship, lifestyle instruction, and sexual education.
In the West in the 1800s and 1900s, sexually-themed drawings, photographs were deemed to be distinct category of printed and illustrated material called 'pornography'. This sexually-themed material was suppressed by governments since the 1800s. Colin Dyos argues that in the nineteenth century, the mechanistic view of the body led to a fear that sexual activity might result in a loss of bodily energy. This led to fears that men from the middle class may lose some of their professional or business abilities. For the working class, it was feared that stimulation of sexual desire might result in a loss of self control, making them less amenable to societal and work discipline.
According to Gore Vidal, "sex is politics". To seek to control aspects of personal sexual behaviour enables governments to control people in general. Consequently, the term then came to mean the publication about anything sexual, especially in a base manner, when the creation, presentation, or consumption of the material was for sexual stimulation. The term now refers to sexually related material of all kinds, both written and graphical. The term "pornography" often has negative connotations of low artistic merit, as compared to the more esteemed erotica.
Euphemisms such as adult film, adult video and adult bookstore are generally preferred within the industry producing these works (namely the Adult Entertainment Industry). Pornography can also be contrasted with ribaldry, which uses sexual titillation in the service of comedy. The definition of pornography is highly subjective, with generally accepted works of art such as Michelangelo's David being considered pornographic by some people. In a sense therefore, the definition of pornography is as much (or more) to do with the viewer's motive and response, as with the actual material, content or creator's intention.
A secondary distinction is sometimes made between softcore pornography and hardcore pornography. Softcore pornography generally includes materials that feature nudity, sexually suggestive scenes, and simulated sex, while hardcore or X-rated pornography contains close-ups of aroused genitalia and sexual activities including penetration. Within the industry itself, informal classification breaks down even further. The differing legal definitions and standards in different countries and regions leads producers to shoot and edit different versions of adult films for release to different markets. The internal rating decision is primarily made by considering whether the film depicts erect penises, close-up shots of genitals and penetration, types of penetration, and the presence or lack of a visible, external ejaculation. Some adult films are edited into an R-rated version suitable for release on late-night cable television, a softcore version designed for release on a mainstream adult cable channel (e.g., the Playboy channel), and an explicit, hardcore version designed for sale in adult film stores.
In some American jurisdictions the depiction of urination or defecation contributes to the conclusion that a particular image is pornographic (see e.g. Arizona Criminal Code Arizona Criminal Code, 9f, 11, in combination with A2, and for Utah [http://www.le.state.ut.us/~code/TITLE76/htm/76_06003.htm, 8h). Another term that is often confused with "pornography" is obscenity, a legal term used in many US states meaning artistic material (any media, any genre) that has no reasonable real artistic merit and appeals to the "prurient interest" and patently offends reasonable prudent people in the community. Arizona prosecuted distributors of a pornographic film called "Taboo American Style" in 1989 on the grounds that it was not merely pornographic but obscene, which would be a crime to distribute under Arizona law. Most of what has been considered obscene in the USA has been pornography, thus the terms are often confused. (See Legal Aspects of Pornography, below.)
Mass-distributed pornography is as old as the printing press. Almost as soon as photography was invented, it was being used to produce pornographic images. Indeed some claim that pornography has been a driving force in the development of technologies from the printing press, through photography (still and motion) to video, satellite TV and the Internet. Calls to regulate or prohibit these technologies have often cited pornography as a concern.
It has been suggested that, among other things, Sony Betamax lost the format war to VHS (in becoming the general home video recording/viewing system) because the adult video industry chose VHS instead of the technically superior Sony system. Other attempts at innovation came in the form of "interactive" videos that let the user choose such variables as multiple camera angles, multiple endings (i.e "Devil in the Flesh", 1999, Private Films), and computer-only DVD content.
Erotic film producers are expected to play a major role in deciding the next DVD standard. Large outfits tend to support the high-capacity Blu-ray Disc, while small outfits generally favor the less-expensive HD-DVD. According to a 2004 Reuters article, "The multi-billion-dollar industry releases about 11,000 titles on DVD each year, giving it tremendous power to sway the battle between two groups of studios and technology companies competing to set standards for the next generation" *.
With the arrival of affordable consumer-level video cameras, or camcorders, members of the public had the means of producing their own pornographic or erotic films. These were intended for personal enjoyment, and perhaps circulated amongst an intimate circle of friends.
However, this development soon became part of a reaction against the prevailing aesthetic of (particularly American) commercial productions. Many people tired of the absolute perfection, indeed, the seeming unreality and plasticity, of the models and their unreal settings. In order for the films to be stimulating, they needed to be true to life, they needed to depict people that the viewers could identify with. Interestingly enough, one finds here an echo of the philosophy of Andy Warhol.....'junk art' for a 'junk society', in which everyone is famous for fifteen minutes.
Consequently, two pornographic movements evolved. The first involved 'amateur porn', films or scenes produced by ordinary people, finding its way on to commercial video releases. There was clearly a market for this, both in America and Europe, and companies started to offer cash incentives for (usually) couples to send their contributions to them. So called amateur pornography remains one of the most important pornographic genres.
The technology of the cheap hand held camera liberated the pornographic film maker from the studio, and gave birth to the second development, Gonzo Pornography. (The term comes from the journalistic approach of Hunter S. Thompson). In this mode of production, a wandering cameraman goes in search of members of the public and persuades them to perform sexual acts, either in an off-street location or back in a hotel room. The pioneer of this type of approach is said to be Ugly George, who went on to broadcast the results on a cable television programme. 'Gonzo' has many imitators, including some producers and directors who try and create the approach using amateur models. In Britain, the principal proponent of this mode is probably Ben Dover.
It's not unlikely that some pornographic movies that seem to be amateur made are filmed by companies with professional actors but in a way so it looks like amateur videos to complement the company's supply of "regular" porn.
Warhol's strictures may be a little unkind. This amateurism may revolutionise the pornographic landscape, in that passive consumption may be repaced by a more participatory process on the part of the consumer.
These games largely disappeared from the marketplace as the industry matured and the user base broadened, due primarily to increased production cost and complexity, severely limited distribution options (most national retailers such as Wal-mart and Target won't stock games with the Adults Only rating), and potential legal issues associated in developing a game without official sanction and/or licensing from the respective console manufacturers.Recent media coverage of titles like BMX XXX, The Mansion, San Andreas and Magna Cum Laude (article: [http://www.statesman.com/business/content/business/stories/10/27games.html Austin-American Statesman) suggest a reversal towards producing and marketing adult-themed games.
In contrast to the console market, niche PC developers have continued to produce adult games with pornographic content. A Google search for "PC strip poker" conducted November 1, 2005 returned slightly over 2 million results. The Japanese market has a particular interest in pornographic Hentai games (often referred to as "H games" outside of Japan).
Digital manipulation requires the use of source photographs, but some pornography is produced without human actors at all. The idea of completely computer-generated pornography was conceived very early as one of the most obvious areas of application for computer graphics and 3D rendering.
The creation of highly realistic computer-generated images creates new ethical dilemmas. As illusionistic images of torture or rape become widely distributed, law enforcement faces additional difficulties prosecuting authentic images of criminal acts, due to the possibility that they are synthetic. The existence of faked pornographic photos of celebrities shows the possibility of using fake images to blackmail or humiliate any individual who has been photographed or filmed, although as such cases become more common, this effect will likely diminish. Finally, the generation of entirely synthetic images, which do not record actual events, challenges some of the conventional criticism of pornography.
Until the late 1990s digitally manipulated pornography could not be produced cost-effectively. In early 2000s it became a growing segment, as the modeling and animation software matured and rendering capabilities of computers improved. As of 2004, computer-generated pornography depicting situations involving children and sex with fictional characters such as Lara Croft is already produced on a limited scale. The October 2004 issue of Playboy featured topless pictures of the title character from the BloodRayne videogame. *
The low cost of copying and delivering digital data boosted the formation of private circles of people swapping pornography. With the advent of peer-to-peer file sharing applications such as Kazaa, pornography swapping has reached new heights. Free pornography became available en masse from other users and is no longer restricted to private groups. Large amounts of free pornography on the Internet is also distributed for marketing purposes to encourage subscriptions to paid content.
Since the late 1990s, "porn from the masses for the masses" seems to have become another new trend. Cheap digital cameras, increasingly powerful and user-friendly software, and easy access to pornographic source material have made it possible for individuals to produce and share home-made or home-altered porn for next to no cost.
On the Internet, pornography is sometimes referred to as pr0n (which is sometimes misspelled p0rn, or porn written with zero), a common style in so called leet speak. One theory on the origins of this spelling is that it was devised to fool censorship filters on instant messaging programs, chat rooms, and search engines. However, since leet speak has performed similar mutations on a number of words, including those unlikely to feature in unsolicited commercial e-mails (0wned, r00t, n00b, d00d), it is likely that any transformation of "porn" to "pr0n" for spamming purposes is at best an independent invention.
However, it is not certain that the purpose of these artifacts was individual sexual arousal. Instead, the images may have had a spiritual significance, and are probably connected with fertility rituals.
There are numerous pornographic paintings on the walls of ruined Roman buildings in Pompeii but the original purposes of the depictions can vary. The distinction between pornography and erotic art is subjective, see Erotica. On the one hand, in the "Villa of the Mysteries", there is a ritual flagellation scene that is clearly associated with a religious cult. This can be seen as religious rather than pornographic. On the other hand pornographic paintings in a brothel advertise various sexual services in murals above each door. In Pompeii you can also see phalli and testicles engraved in the sidewalks, pointing the way to the prostitution and entertainment district, to aid visitors in finding their way (see Erotic art in Pompeii). But it also should be remembered that, to the Romans, the phallus was seen as a good luck charm, and so called 'herms' were as common in their gardens as gnomes in some of ours.
There are depictions of erotic scenes in medieval illuminated manuscripts, but it is not until the invention of the printing press that so called pornographic images entered into mass circulation. A classic example of this is the scandal caused in the sixteenth century by Pietro Aretino and Marcantonio Raimondi, who produced the I Modi, an illustrated book of "postures" or sexual positions.
In the 17th century, a large number of examples of pornographic or erotic literature began to circulate, mostly printed in Amsterdam, and smuggled into various European states. These included the "School of Venus", a French work. In his famous diary, Samuel Pepys records purchasing a copy for solitary reading, and then burning it so that it would not be discovered by his wife.
The market for this mass produced material was, of course, the bourgeoisie. Consequently, in the enlightenment, many of the French free-thinkers began to exploit pornography as a medium of social criticism and satire. The stories and illustrations were often anti-clerical, full of misbehaving priests, monks, and nuns (a tradition that, in French pornography, continued into the twentieth century). Later, Marie Antoinette was targeted (with fantasies involving her and the Ladies in Waiting), and much was made of the supposed sexual inadequacies of Louis XVI.
This had a faint echo across the Channel. In 'Fanny Hill', John Cleland used the text to satirise the literary conventions and fashionable manners of 18th century England.
The 19th century saw the impact of photographic technology. Louis Daguerre invented the first commercial photographic process in 1839. Although a number of erotic photographs survive from this period, they were really rich men's toys. The invention of the wet plate photographic process permitted an almost limitless number of prints to be produced from a glass negative. This, and the reduction in exposure time, made a market for pornographic pictures possible.
Paris was the centre for this trade. The pictures were produced in sets, and exported all over the world. The invention of the stereoscopic photograph meant that (when seen through a viewer), a three-dimensional effect could be obtained.
The Victorian pornographic tradition in Britain had three main elements. There were, of course, 'French' photographs; erotic prints (sold in shops in Holywell Street, a long vanished London thoroughfare, swept away by the Aldwych); and printed literature.
The latter has been extensively researched, particularly by Stephen Marcus, a Dickensian scholar. In his pioneering work 'The Other Victorians', Marcus recreated the life and work of Henry Spencer Ashbee, a Victorian collector and indexer of erotica. (Ashbee has been identified as the author of 'Walter: My Secret Life', a classic of 19th-century sexual autobiography.)
High-Victorian pornography had a number of characteristics. It reflected a very mechanistic view of the human anatomy and its functions. Consequently, the sex is often depersonalised, and is without any passion or tenderness. Studies of this sexual context can be found in the work of Colin Dyos, a British social historian.
The level of literacy is much below that of the previous century — they were written by 'hacks'. There are borrowings from established literary models, such as Dickens.
There is also a curious form of social stratification. Even in the throes of the orgy, the social distinctions between master and servant (including form of address) are scrupulously observed.
A large element of sado-masochism is present in some examples, perhaps reflecting the influence of the English public school.
Towards the end of the century, a more 'cultured' form of erotica began to appear. This was associated with the Decadents, in particular, with Aubrey Beardsley and the Yellow Book. But it was also to be found in France, amongst such writers as Pierre Louys, author of the 'Chanson de Bilitis' (a celebration of lesbianism and sexual awakening).
Two developments took pornography and erotica in new directions in the twentieth century. The invention of new printing processes allowed photographic images to be reproduced. Illustrated magazines containing erotic or risque material began to appear in France at the turn of the century. The majority of these publications would now be termed 'soft core', and the majority of the publications either masqueraded as 'art magazines' or publications celebrating the new cult of naturism. 'Health and Efficiency' was typical of the latter in Britain. Models were carefully posed, and female genitalia was hidden or airbrushed out. There were exceptions, in the form of some underground pornographic magazines, but these tended to be crude productions, often incorporating hand drawn illustrations.
Pornographic comic books known as Tijuana bibles began appearing in the U.S. in the 1920s.
In the second half of the 20th century, pornography in the United States evolved from the so-called "men's magazines" such as 'Playboy and Modern Man'' of the 1950s. These magazines featured nude or semi-nude women, sometimes apparently engaging in the act of masturbation, although their genitals or pubic hair were not actually displayed. By the late 1960s, however, these magazines, which by then included Penthouse, began to evolve into more explicit displays, eventually, by the 1990s, featuring sexual penetration, lesbianism and homosexuality, group sex, masturbation, and fetishes.
The second important development was that of the moving image. William Laurie Dickson, an Edison employee, is credited with inventing the continuous celluloid strip of film. From this came the kinetoscope, a peep show machine showing a continuous loop of film.
The mutoscope, a form of hand cranked machine later appeared. These machines produced moving images by means of a revolving drum of card illustrations, taken from an actual piece of film. They were known in Britain as 'What the Butler Saw' machines and featured at seaside locations, showing (usually) sequences of women undressing or acting as an artist's model.
Pornographic motion pictures are nearly as old as the medium itself. The idea of projecting a moving film onto a screen in front of the audience was a European invention of the 1890s. Almost immediately, erotic films (largely of women disrobing) were produced. Two of the earliest pioneers were Eugene Pirou (who had a background in pornographic photography) and Albert Kirchner, whose trade name was 'Lear'. Oddly enough, Kirchner is chiefly remembered by film historians as the first man to produce a film of the 'Life Of Christ'. Many of the early mainstream films produced by Pathe and Gaumont included female nudity, but this was soon forbidden by the censor (it took some years for the law to catch up with the new technology). This type of filming then went underground, and found a ready market in brothels and gentlemen's private functions.
According to Patrick Robertson's Film Facts, "the earliest pornographic motion picture which can definitely be dated is A L'Ecu d'Or ou la bonne auberge", made in France in 1908; the plot depicts a weary soldier who has a tryst with an inn servant girl. The Argentine El Satario might be even older; it has been dated to somewhere between 1907 and 1912. Robertson notes that "the oldest surviving pornographic films are contained in America's Kinsey Collection. One film demonstrates how early pornographic conventions were established. The German film Am Abend (c1910) is, as Robertson writes, "a ten-minute film which begins with a woman masturbating alone in her bedroom, and progresses to scenes of her with a man performing straight sex, fellatio and anal penetration." (Robertson, p. 66)
Many such pornographic films were made in subsequent decades, but given the usually clandestine nature of the filming and distribution, details of such "stag films" are often difficult to obtain.
The first explicitly pornographic film with a plot that received a general theatrical release in the U.S. is generally considered to be Mona (also known as Mona the Virgin Nymph), a 59-minute 1970 feature by Bill Osco and Howard Ziehm, who went on to create the relatively high-budget hardcore/softcore (depending on the release) cult film Flesh Gordon.
The 1971 film The Boys in the Sand represented a number of pornographic "firsts". It was the first generally available gay pornographic movie. It was the first porn film to include on-screen credits for its cast and crew (albeit largely under pseudonyms). It was the first porn film to parody the title of a mainstream movie (in this case, The Boys in the Band). And it is the only X-rated pornographic film to be reviewed by The New York Times.
The post-war era saw a number of developments that further stimulated the growth of a mass market.
Technological developments, particularly the introduction of the 8 mm and super-eight film gauges, resulted in the widespread use of amateur cinematography. A number of entrepreneurs emerged to supply this market. In Britain, the productions of Harrison Marks were 'soft core', but considered risque in the 1950s. On the continent, such films were more explicit. Lasse Braun can be mentioned as a pioneer in quality colour productions. Interestingly enough, in the early days, these were distributed by making use of his father's diplomatic privileges.
The relaxation or abolition of censorship in the Netherlands and the Scandinavian countries in the 1960s led to an explosion of commercially produced pornography. Now that being a pornographer was a legitimate occupation, there was no shortage of businessmen to invest in proper plant and equipment capable of turning out a mass-produced, cheap, but quality product. Vast amounts of this new pornography, both magazines and films, were smuggled into other parts of Europe, where it was sold 'under the counter' or (sometimes) shown in 'members only' cinema clubs.
The invention of the Polaroid camera enabled anyone to take their own amateur sex photographs without having to set up their own darkroom. The photographs from one of the first Polaroid cameras available in Britain featured in the divorce case involving the Duchess of Argyll.
Some people, including pornography producer Larry Flynt and the writer Salman Rushdie, have argued that pornography is vital to freedom and that a free and civilized society should be judged by its willingness to accept pornography.
Most countries attempt to restrict minors' access to hardcore materials, limiting availability to adult bookstores, mail-order, via television channels that parents can restrict, among other means. There is usually an age minimum for entrance of pornographic stores, or the materials are displayed partly covered or not displayed at all. More generally, disseminating pornography to a minor is often illegal. Many of these efforts have been rendered moot by the wide availability of Internet pornography.
There are recurring urban legends of snuff movies, in which murders are filmed for pornographic purposes. Extensive work by law enforcement officials to ascertain the truth of these rumors have been unable to find any such works.
The Internet has also caused problems with the enforcement of age limits regarding performers. In most countries, women and men under the age of 18 are not allowed to appear in porn films, but in several European countries the age limit is 16, and in the UK (excluding Northern Ireland) and Denmark it is legal for women as young as 16 to appear topless in mainstream newspapers and magazines. This material often ends up on the Internet and viewed by people in countries where this constitutes child pornography, creating challenges for lawmakers wishing to restrict access to such material.
Opposition to pornography generally, though not exclusively, comes from several sources: law, religion and feminism.
Distribution of obscenity is a Federal crime in the United States, and also under most laws of the 50 states. There is no right to distribute obscene materials. Child pornography is illegal. The determination of what is obscene is up to a jury in a trial, which must apply the Miller test.
In explaining its decision to reject claims that obscenity should be treated as speech protected by the First Amendment, in MILLER v. CALIFORNIA, 413 U.S. 15 (1973)the US Supreme Court found that
and in PARIS ADULT THEATRE I v. SLATON, 413 U.S. 49 (1973) that
Most religious groups view pornography as immoral and the production and use of pornography as contributing to immoral behavior in society.
Feminist critics of pornography, such as Andrea Dworkin and Catharine MacKinnon, generally consider it demeaning to women. They believe that most pornography eroticizes the domination, humiliation, and coercion of women, reinforces sexual and cultural attitudes that are complicit in rape and sexual harassment, and contributes to the male-centered objectification of women. Some feminists distinguish between pornography and erotica, which they say does not have the same negative effects of pornography. However, many Third-wave feminists and postmodern feminists disagree with this critique of porn, claiming that appearing in or using pornography can be explained as each individual woman's choice, and is not guided by socialisation in a capitalist patriarchy.
Critics from both groups have expressed belief in the existence of "pornography addiction". In the United States in 2005, Attorney General Gonzales made obscenity and pornography a top prosecutorial priority of the Department of Justice*.
Some researchers have found that "high pornography use is not necessarily indicative of high risk for sexual aggression," but go on to say, "if a person has relatively aggressive sexual inclinations resulting from various personal and/or cultural factors, some pornography exposure may activate and reinforce associated coercive tendencies and behaviors." (Malamuth, Addison, & Koss, 2000, p. 79-81).
In 1979, Andrea Dworkin published Pornography: Men Possessing Women, which analyzes (and extensively cites examples drawn from) contemporary and historical pornography as an industry of woman-hating dehumanization. Dworkin argues that it is implicated in violence against women, both in its production (through the abuse of the women used to "star" in it), and in the social consequences of its consumption (by encouraging men to eroticize the domination, humiliation, and abuse of women).
Some more recent pornography has been produced under the rubric of "by and for women". For example, the Feminist Porn Awards were created to honor women's contribution to the genre. In order to receive an award it is required that: "A woman was substantially involved in the creation of the film as producer, director, or cameraperson; the film portrays real orgasms, and women getting their fair share of genuine pleasure; and the film expands the range of sexual expressions for women." *
Japan, which is noted for large number of rape fantasy pornography, has the lowest reported sex crime rate in the industrialized world, which has led some researchers to speculate that an opposite relationship may in fact exist—that wide availability of pornography may reduce crimes by giving potential offenders a socially accepted way of regulating their own sexuality. Conversely, some argue that reported sex crime rates are low in Japan because the culture ( a culture that greatly emphasizes a woman's "honor") is such that victims of sex crime are less likely to report it (e.g. chikan *).
Milton Diamond and Ayako Uchiyama write in "Pornography, Rape and Sex Crimes in Japan" (International Journal of Law and Psychiatry 22(1): 1-22. 1999) *:
There has also been a recent increase in sex crimes in Japan which parallels an increase in all crimes. Some in Japan have blamed the increase on violent pornography and indeed, some sex offenders report having been inspired by themes in commonly available pornography. The counter argument is that some sex offenders will likely use any defense they can to lower their culpability.
These conventions apply to mainstream pornography. Homosexual and BDSM-related pornography, for example, often operate under different rules.
The production and distribution of pornography are economic activities of some importance. The exact size of the economy of pornography and the influence that it plays in political circles are matters of controversy. Pornography is now a major part of life for some, with many couples swearing by it to relieve themeselves sexually.
In general, softcore refers to pornography that does not depict penetration, and hardcore refers to pornography that depicts penetration and/or extreme fetish acts.
The main genres of pornography are:
Pornography | Sexology | Erotica | Sex industry | Sex laws
Porno | Pornografia | Pornografie | Pornografi | Pornografie | Pornografía | Pornografio | Pornographie | Pornografi | Klám | Pornografia | פורנוגרפיה | Pornographie | Pornografie | ポルノ | Pornografia | Pornografia | Порнография | Порнографија | Pornografija | Pornografia | Pornografi | 色情
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