For Health and Empowerment

In 1991, The Divinyls released the track “I Touch Myself” and in 2005 Siobhan Fahey had “Pulsatron.” Both songs presented rare and renegade takes on masturbation: that far from being shameful, to take control of one’s sexual pleasurable is a good thing, an empowering thing. This chapter distances itself from the many negative masturbation portrayals examined in the previous chapters and focuses on the positives. While sexual pleasure might be an obvious benefit, film and television also depict several others including aids to health, esteem and liberation.

Masturbation, Rest and Relaxation

Apart from its role in abating horniness, the next most common rationale for masturbation on screen is relaxation: that it can help a person unwind. In song, this is an idea apparent in The Who’s song “Pictures of Lily” (1967) which refers to looking at pin-up images to masturbate and then fall asleep. Tori Amos’ “Icicle” (1994) mentions the exact same thing. In Man Man’s “10lb Moustache” (2004) a specific reference was made to the use of porn—a standard masturbation metonym—to fall asleep. On screen this idea was at the center of the masturbation-themed episode of sitcom Seinfeld (1989–1998). For Jerry (Jerry Seinfeld), Elaine (Julia Louis-Dreyfus) and George (Jason Alexander)—three of the four participants in a wager to hold out the longest without masturbating—each lay in their beds tossing and turning, exhibiting exaggerated restlessness; a clear consequence of their abstinence. The fourth participant, Kramer (Michael Richards)—who had promptly lost the contest by masturbating—was shown fast asleep. Kramer’s sound sleep was directly connected to his self-stimulation; he could rest because his needs had been satisfied. Seinfeld’s message was unsubtle: masturbation is essential to relaxation; a theme detectable in numerous other examples.

In the Costa Rican drama Caribe (2004), after Irene (Maya Zapata) saw a couple of having sex, she returned to her room and, after rolling around restlessly, eventually masturbated. In the comedy Due Date (2010), Peter (Robert Downey Jr.) lamented not having slept and his road-trip partner Ethan (Zach Galifianakis) remarked: “Well you really should have masturbated, ‘cos I had a glorious orgasm and I slept like a baby.” Peter had actually caught Ethan masturbating the night prior. In an episode of Weeds (2005–2012), Uncle Andy (Justin Kirk) spotlighted the relaxation benefits of masturbation when he gave his nephew Shane (Alexander Gould) a detailed lecture on the topic, “It reduces stress, it enhances immune function.” In an episode of Sex and the City (1998–2004) the benefits of autoeroticism were actually likened to a spa experience in a conversation between friends Charlotte (Kristin Davis), Samantha (Kim Cattrall), Carrie (Sarah Jessica Parker) and Miranda (Cynthia Nixon):

At a cursory glance, each of these examples present the simple idea that masturbation’s role in relaxation is a truism. Another interpretation however—and perhaps a more controversial proposition—is that sexual frustration, that horniness, is actually a problem and is disruptive to ordinary functioning: that not masturbating is the bad thing. This reading was actually articulated in a quip made by Daisy (Laura Harris) in an episode of the series Dead Like Me (2003–2004), “If Romeo had just masturbated a couple of times a week he would have saved both those nice families a heap of trouble.” While a subtle example, Daisy’s remark alludes to the idea that unsatiated horniness can lead to sub-optimal, arousal-driven decisions; that if only people were taught—were encouraged to masturbate—and if only there was less stigma attached, then they might not rush into decisions like intercourse.^[1]

The masturbation-as-relaxation narratives tie into academic research spotlighting the effectiveness. As early as 1936 physician John Meagher identified the link:

More recent research undertaken by sociologist Edward Laumann et al., noted that 26 percent of men and 32 percent of women did in fact masturbate for relaxation.^[3] The authors also noted that 16 percent of men and 12 percent of women did so to fall asleep.^[4] A man quoted in Linda Levine and Lonnie Barbach’s work on sexuality described his use of self-stimulation along these same lines, noting: “Sometimes when I’m troubled, I masturbate. It’s a good way to go to sleep. Then masturbating serves more of a sedating and comforting function for me than a sexual one.”^[5] This comment is certainly a valid interpretation of some of the self-stimulation scenes discussed earlier—particularly Ethan’s in Due Date—where, rather than being akin to the sexualized masturbation displays that women are frequently engaged in, Ethan’s participation was simply a pre-bed ritual, akin to brushing teeth. In fact, the laboriousness of his task was spotlighted when he noted that it usually takes him “about thirty-five minutes” to finish.

While serving as a mirror to real life is likely one explanation for the relaxation link, another reading is simply that such scenes are modern portrayals; that in sharp contrast to all the embarrassing and demonized presentations discussed in previous chapters, these scenes present masturbation as normal, and more than just normal, as in fact boasting health benefits: that such portrayals actually advocate for it. While Ethan in Due Date and Samantha in Sex and the City could indeed be interpreted as oversharing, both characters nevertheless served as proof that their technique was successful: Ethan did fall asleep quickly and Samantha did look like she was glowing to her friends. Of course, an obvious paradox is identifiable here whereby masturbation is both considered okay, if not good, but is also something that people are still uncomfortable talking about: Peter in Due Date and Samantha’s friends clearly found the masturbation confessions confronting. This paradox, in fact, was perfectly surmised by Dan (John Goodman) in the sitcom Roseanne (1988–1997) when he spoke to his son DJ (Michael Fishman) about masturbation: “even though it’s okay and everybody does, there’s nothing wrong with it, nobody ever ever talks about it.” This works to highlight that even in a mediascape of growing comfort about masturbation, secrecy is still the overarching dictum; illustrative, seemingly, of the “repressive hypothesis” discussed by philosopher Michel Foucault.^[6]

The Seinfeld episode discussed earlier not only presented masturbation as something facilitating rest, but in fact, as something essential for general mood stability. The undercurrent is that horniness and sexual frustration not only disrupt sleep but in fact, compromise disposition more broadly.

Masturbation and Mood Stability

In a scene from the comedy-drama Ghost World (2001), the following dialogue transpired between adolescents Enid (Thora Birch) and Rebecca (Scarlett Johansson):

In this simple exchange, the idea that masturbation can thwart the negative feelings associated with sexual frustration—i.e., craziness—is presented. This same theme was apparent in the Seinfeld episode. While abstaining, Jerry—appearing thoroughly frazzled—at one point exclaimed, “I can’t sleep, I can’t leave the house, and I’m here. I’m climbing the walls. Meanwhile, I’m dating a virgin. I’m in this contest. Something’s gotta give!” Following a silly argument with George about socks, the two identified just how extensively abstinence had affected their harmony:

While exaggerated for effect, Seinfeld shows that refraining from masturbation has a variety of negative consequences, in turn, implying that the act has an important role in mood maintenance: that it works to level disposition and promote well-being. While it is rare that screen examples present this idea as explicitly as Seinfeld, the role of masturbation in mood is indeed identifiable elsewhere. In the romantic-comedy Thanks for Sharing (2013), Neil (Josh Gad)—after exploding at his sex addiction meeting—explicitly connected his bad mood to not having masturbated: “I haven’t jerked off in a week and feel like a giant blue ball.” Most representations however, are substantially more subtle, notably where unsatisfied horniness is connected to more sudden onset irritability. At the tame end of this spectrum is a scene from the romantic-comedy Afterglow (1997). Marianne (Lara Flynn Boyle) had lay down on the couch and had just begun to masturbate when she was interrupted by the doorbell. Frustrated—she thumped the couch—and then forced herself to get up to answer the door. In a scene from drama series Dirt (2007–2008) something similar transpired when Lucy (Courteney Cox) was in bed masturbating—the buzz of her vibrator clearly audible—when she was interrupted by a phone call from her mother and disappointedly had to return her sex toy to the drawer. In an episode of Weeds (2005–2012), Nancy’s (Mary-Louise Parker) frustration was palpable as the batteries kept dying in her vibrator. In each example, the interruption of self-stimulation was presented as highly irritating; masturbation wasn’t just about the general pleasure derived from genital touch, but was about carrying the task through to orgasm. The specific importance of finishing—of the masturbatory orgasm—to mood was in fact made slightly more obvious in the comedy Ace Ventura: When Nature Calls (1995), when the title character (Jim Carrey) was in a tent masturbating. When he was sprung by his colleague Fulton (Ian McNeice), Ace claimed that he was just “practising my mantra.” Ace then asked Fulton to wait outside for him to finish because when he doesn’t finish his mantra he gets a little “cranky.” While still relatively subtle in this scene, the message is that without masturbating through to orgasm mood gets compromised. While these examples present masturbation as a route to a mood-stabilizing climax, such presentations are rare: a character’s need for orgasm is more commonly presented through reference to intercourse. In the period-drama Gone with the Wind (1939) for example, Rhett (Clark Gable) said to Scarlett (Vivien Leigh), “you need kissing badly. That’s what’s wrong with you. You should be kissed and often and by someone who knows how.” While likely deliberately tame to reflect the era and the associated censorship restrictions, it is reasonable to assume that Rhett was in fact suggesting that Scarlett needed to be fucked; that her mood would be enhanced if she had intercourse. This idea was articulated more explicitly in the romantic-comedy Chasing Amy (1997) when Banksy (Jason Lee) commented, “All every woman really wants—be it mother, senator, nun—is some serious deep-dicking.” In a scene from the military-comedy Good Morning Vietnam (1987), Adrian (Robin Williams) made the same point, ribbing General Taylor (Noble Willingham), “You are in more dire need of a blow job than any white man in history.” In the comedy-drama Nobody’s Fool (1994), after being issued a traffic ticket, Sully (Paul Newman) jeered at the officer, “Boy, I hope you get laid sometime soon.” In the suburban-drama American Beauty (1999), after the crotchety Carolyn (Annette Bening) cheated on her husband, immediately after the sex she commented, “That was exactly what I needed.” In each of these scenes, intercourse is implied to have a positive impact on mood. Tellingly, intercourse is presented as the much more acceptable route to an orgasm; while masturbation might be the easier option it is also the one commonly eschewed.^[7]

In chapter 7 I discussed the role of masturbation in overcoming loneliness. Connected to this idea is autoeroticism having a positive role in dealing with depression. While in song, fucking yourself is described as a means to “clear your head” in The National’s song “Slipping Husband” (2003), on screen and masturbation for psychological reasons is widely identifiable. In the British romantic-comedy I Give It A Year (2013) for example, the unnamed Stephen Merchant character discussed some of the techniques that his friend Josh (Rafe Spall) used to recover from his girlfriend’s departure: one included masturbation. The drama Cyrus (2010) in fact opened with Jamie (Catherine Keener) walking in on her ex-husband John (John C. Reilly) masturbating: John was still depressed even though the couple had been divorced for seven years. In American Beauty, Lester (Kevin Spacey) masturbated at the beginning of the film in the shower. Via voiceover he revealed that this act was the highlight of his day. As discussed in chapter 7, some theorists would contend that it is masturbation itself that causes depression and indeed, these scenes are open to such an interpretation. However, more obvious is the presentation of depressed characters simply trying to feel better. Just as the household of synchronized menstruators binged on cupcakes in the romantic-comedy No Strings Attached (2011) to deal with their cramps, and just as the title character (Renée Zellweger) Bridget Jones: The Edge of Reason (2004), consumed an entire carton of ice cream in the aftermath of her relationship break-up, depressed characters deploy a variety of techniques to deal with pain; it is thus no surprise that masturbation is utilized similarly. While such tactics might not actually cure a malady, nevertheless they provide immediate gratification and thus achieve their intended aims.

The simple premise of characters seeking to feel pleasure when depressed—to potentially use masturbation to escape (chapter 10)—is an idea that is not only identifiable on screen but is apparent in masturbation testimonies too. In writer Roberto Martinez’s discussion of masturbation, he reflected on his autoerotic life prior to being diagnosed with prostate cancer and in doing so explicitly linked the role of masturbation to stabilizing his mood:

In Jackie Osinski’s memoir on depression, masturbation was similarly discussed as a coping mechanism: “One way that I dealt with all the tormenting emotions was to masturbate. . . . Masturbation is a base form of relief for humans. All I knew was every time I masturbated, I momentarily felt better.”^[9] A man in Levine and Barbach’s work made similar comments:

A woman in sex researcher Shere Hite’s research also noted simply that, “It keeps you from going nuts when you need sex.”^[11]

Masturbation as a treatment for depression is also identifiable in academic work. Sexologist Albert Ellis for example, noted that masturbation “has a calming effect on the sex urges and emotional excitation of millions of people who require relief quickly.”^[12] Sex writer Violet Blue similarly contended, “Masturbation is our natural way of releasing tension, and it teaches us sexual self-reliance.”^[13] A variety of other writers also make this link,^[14] and in work on sex addiction as well as other sexual deviations, masturbation is frequently identified as having a role in mood regulation.^[15]

Masturbation also has a screen role in dealing with anger. In a scene from the comedy Anger Management (2003), the therapist Dr. Rydell (Jack Nicholson) presented a series of rules to his patient Dave (Adam Sandler):

Angry masturbation was also briefly mentioned in the romantic-comedy Going the Distance (2010). Garrett (Justin Long) was in a long distance relationship with Erin (Drew Barrymore) and was discussing the rules of their arrangement with his friends Dan (Charlie Day) and Box (Jason Sudeikis). Box asked whether Garrett could see other people and Dan queried, “Can you masturbate?” Dan then helped an old lady across the street and while doing so continued espousing his thoughts on Garrett’s masturbation: “He goes crazy, he’s furious with his penis or something. . . . Angry masturbation which is dangerous. You can really injure yourself.” A much more explicit presentation of angry masturbation transpired in the medical-drama Nip/Tuck (2003–2010). Following an angry phone call with his estranged wife, Sean (Dylan Walsh) masturbated via rough sex with a sex doll, channelling his frustration into the task and, at times, even picturing his wife as he roughly thrust into the rubber body.

In chapter 7 I discussed the possibility of construing masturbation as a way to spare a lover from sexual exploitation. As related to anger, masturbation can be a way to moderate or assuage it, but also to spare a lover from being exposed to it: that anger can be channelled into masturbation instead of a (potentially) aggressive sex act. On screen and this is certainly an interpretation of Sean’s masturbation in Nip/Tuck and might also be a reading of the behavior of the recently-returned prisoner of war, Brody (Damian Lewis) on Homeland (2011–) when he rebuffed his wife’s initiation of sex in favour of masturbation, telling her “no, it’s better if you don’t.” Perhaps Brody feared he would get a little aggressively carried away if they had intercourse. In Levine and Barbach’s work a man actually referenced these ideas in his comments about masturbation:

These themes highlight that sometimes masturbation might be angry but that such an act is far preferable to aggressive intercourse where another person can get hurt, physically or emotionally. (Masturbation as a way to actually hurt another person is discussed further in chapter 10).

Just as the screen contends that mood can be enhanced through masturbation, so too, apparently, can sexual performance.

Performance Benefits

In chapter 7 I discussed a range of presentations whereby characters used masturbation as a substitute for intercourse. In that discussion, I noted that sometimes self-stimulation is a way to both experience sexual pleasure without the pressure of a partner, but also to learn about sexuality and what feels good. The positive role of masturbation as aiding bodily awareness is discussed in this section whereby scenes are examined which depict autoeroticism as having a role in aiding intercourse performance.

Quoted earlier was Uncle Andy’s comment to Shane in Weeds about masturbation being good for relaxation. This comment was part of Andy’s much longer monologue about masturbation where he also noted that “practice makes perfect. So work on your control now, while you’re a solo artist—you’ll be playing some long, happy duets in the future.” Whereas it is more common to think of masturbation as hindering a sex life—for disrupting marriages, for conditioning men to ejaculate too quickly, or only at the touch of their own hand, or becoming dependant on porn (chapter 8)—both on screen and off masturbation is thought to have a role in control: of teaching people, generally men, about their bodies, about their responses, and aiding them in practising technique and restraint. Practice for example, was subtly referred to in an episode of the sitcom The Big Bang Theory (2007–) when Howard (Simon Helberg) was in bed with Leslie (Sara Gilbert) who complimented him that his technique was improving, “It helps when I get to practice with a real woman,” Howard responded. The same idea was apparent in the comedy Love and Death (1975): Countess Alexandrovna (Olga Georges-Picot) complimented Boris (Woody Allen) on being “the greatest lover I’ve ever had,” to which Boris responded, “Well, I practice a lot when I’m alone.” In an episode of the British series Coupling (2000–2004) the same idea was discussed in an exchange between the heterosexual character Jeff (Richard Coyle) and the homosexual character Howard (William Scott-Masson):

Practice, as explicitly related to control, was also identifiable in the comedy There’s Something About Mary. Dom (Chris Elliott) was surprised to find out that his friend Ted (Ben Stiller), didn’t plan on masturbating before his date: “Are you crazy? That’s like going out there with a loaded gun!” While not part of a long-term training regimen as alluded to in Weeds, nevertheless, Dom implied that by masturbating prior to a date meant that he wouldn’t ejaculate prematurely should he get lucky and have the opportunity for sex; that he would appear to be a more accomplished lover. The same idea was briefly referenced in an episode of Entourage (2004–2011). Johnny (Kevin Dillon) and Turtle (Jerry Ferrara) were having a conversation before departing for a party:

While masturbation as sex training is generally construed as something associated with men, a female version of this transpired in an episode of the British series Strictly Confidential (2006) when Tiffany (Nikki Sanderson) had been instructed by a sex therapist to masturbate while with her partner to overcome her intercourse difficulties.

This idea of masturbation having a role in improving a man’s technique as a lover is explored in much work on sexuality. At the obvious end of the spectrum is the views of psychologists Jennifer Petersen and Janet Shibley Hyde who noted simply that, “Men and women who masturbate are more aware of their sexual anatomy and more knowledgeable about their sexual preferences than others who do not masturbate.”^[18] Ellis also discussed this issue describing masturbation as “a fine apprenticeship in erotic fantasy.”^[19] Masturbation writer Betty Dodson equally addressed this noting that—particularly for women—masturbation serves as “a way to build confidence so we can communicate clearly with our lovers.”^[20] A woman in Hite’s work identified its role in helping her recognize her stages of arousal and, ultimately, to orgasm.^[21] In the 1969 sex manual The Sensuous Woman, author Terry Garrity also spotlighted a training role for masturbation, arguing, “To awaken your body and make it perform well you must train like an athlete for the act of love.”^[22]

Both on screen and off, the theory is that masturbation enables a person to recognize and act on their arousal as well as to learn about how they like to be touched—what pressure, what rhythms, what angles—and ultimately how to orgasm without a partner. That such presentations are so rare on screen however, highlights that having conversations about such topics—and that daring to present intercourse as something that needs to be trained for (that being accomplished at sex is not necessarily natural)—are quite confronting and controversial assertions. A more conservative take however, is that by construing masturbation as a kind of sex training is that intercourse gets normalized—gets presented as the ultimate in sexual practice—and thus self-stimulation is yet again relegated to a transitional role, or as psychologist Marta Suplicy described it a rehearsal,^[23] for a more legitimate expression of sexuality.

Worth noting, a subtle undercurrent apparent in The Big Bang Theory, Coupling, There’s Something About Mary and Entourage is the pressure men feel to perform. The idea of masculinity being connected to performance as lover is something that has been discussed at other points in this book, but it is particularly interesting to note that in these scenes, men are masturbating not necessarily for their own pleasure, and not necessarily to boost their pleasure during intercourse either, but rather to be perceived as a better—and thus presumably more masculine—lover. Again, the focus of good sex is the penis in the vagina and presumably the longer it lasts the more successful the sex is; a seemingly very phallic perception of sex.

In chapter 1, I discussed the long history of health maladies being connected to masturbation. In the next section, the possibility for masturbation as connected to health benefits is examined.

Masturbation and Health Benefits

Discussed above were a variety of mental health benefits offered by self-stimulation. In this section the possible physical health consequences are explored.

In the episode of Family Guy (1999–) when Quagmire discovered Internet porn, once he finally emerged from his home, one arm had enormous muscles; presumably from extensive masturbation. The same masturbation-muscles were alluded to in an episode of the British mystery series Sherlock (2010–) when the title character (Benedict Cumberbatch) referred to a suspect having the “right sleeve of an internet porn addict.” While in these scenes the presentations were intended to be funny—and instead of being a health benefit in fact served as allusions to overindulgence—other scenes do in fact proffer more serious depictions of the same idea. In Uncle Andy’s Weeds’ monologue for example, he told Shane that masturbation “enhances immune function.” While in this scene Andy alleged a specific health benefit, in other examples the link is vaguer. In a scene from the comedy Not Another Teen Movie (2001) for example, an airline clerk (Molly Ringwald) randomly remarked, “I think masturbation is very healthy.” A similarly ambiguous example transpired in the comedy-drama Pretty Persuasion (2005), when Kimberly (Evan Rachel Wood) sarcastically commented, “Brittany [Elisabeth Harnois] and I are the best of friends; we confide in each other. Like the other day, Brittany confided that she feels dirty when she masturbates, but I told her that it was normal and healthy, even when you do it as much as she does.”

In her cultural history of masturbation, Martha Cornog spotlighted the paucity of studies specifically on health benefits, but noted that the benefits of sex—notably orgasm—are well documented in the areas of pain relief and longevity^[24]; thus suggesting that such benefits could, logically, extend to orgasm via masturbation. Historian Thomas Laqueur similarly drew attention to masturbation’s link to good health noting that, “in the 1960s and after, some began to think that solitary sex is healthful and much more besides.”^[25] In Hite’s research, a woman espoused the benefits of masturbation and drew specific attention to that fact that in masturbating one doesn’t have to worry about pregnancy or disease.^[26] In the absence of specific research linking masturbation to good health, the benefit is often pitched as masturbation at the very least not being unhealthy and as having advantages over other sexual options. This issue was explored in an article on masturbation by James Shelton. The author quoted a young black South African who, of autoeroticism, claimed, “It saved me”: “the sexual outlet provided through masturbation enabled him to avoid seeking multiple sexual partners, which would have exposed him to HIV infection.”^[27] Physician Wilhelm Stekel in his 1953 work on masturbation made the same point: “Many old maids, bashful widows, lonely bachelors find life endurable only through indulgence in masturbation, a practice which at least does not expose them to social dangers!”^[28] Thinking back to Daisy’s line in Dead Like Me, just as masturbation could have (theoretically) prevented the Romeo and Juliet tragedy, much more so it can prevent a slew of consequences associated with intercourse such as disease, pregnancy and dependency on unsatisfying relationships.

In my book Periods in Pop Culture: Menstruation in Film and Television, I presented the argument that the inclusion of menstruation in a screen narrative can be one way to stir some sexual politics into a scene.^[29] Autoeroticism can function similarly. While depictions can connote loneliness, sexual desperation and relationship dysfunction (as discussed in previous chapters), conversely, a clear benefit is its role in allowing a character to retain control over their sexuality and become sexually liberated: that they can have an orgasm whenever they like, and need not depend on anyone else.

Masturbation and Sexual Liberation

Sex writer Laura Lewis defined sexual liberation as “the right to accept or decline advances without fear of ridicule, rape or coercion.”^[30] Sociologist Ilpo Helén presented one with more overtly political underpinnings:

While, as a number of scholars have pointed out, sexual liberation is not the same as women’s liberation^[32]—and indeed, while the triumphs of the sexual liberation movement as related to women’s equality have been heatedly contested^[33]—this discussion centers on the (positive role) that masturbation has in women’s control over their own sexual pleasure. While this is not to say that men don’t also need to be liberated and distanced from the negativity that is often attached to their masturbation,^[34] on screen and the liberation narrative is one more commonly associated with women. In Dodson’s book Sex for One for example, she wrote, “Sadly, it is we women who mostly insist on the romantic ideal of having our orgasms from Romeo’s cock.”^[35] A woman in Hite’s research referenced the same ideas: “I think it is important that women be freed from the myth that the only road to pleasure is the penis in the vagina.”^[36] Together, these ideas help introduce the sexual liberation themes that some masturbation scenes proffer: that disconnecting sexuality from a partner—from penises—can be liberating for women.^[37]

In chapter 7 I discussed masturbation as substituting for sexual practices that a person may not want to expose their partner to, or which might be illegal or difficult to orchestrate. Thinking of this idea as related to liberation, masturbation can in fact be construed as a way for an individual to experience sexual pleasure without having to rely on a partner: that neither marriage nor even a relationship is necessary. Laqueur noted that after the 1930s, the image of masturbation changed dramatically from the medical models of earlier decades, noting that the act was reconceptualized as “an act of individual liberation.”^[38] He illustrated this idea through reference to a feminist poster displayed in the Women’s Studies Department of Sydney University in 1991 which showed “a woman with her hand in her crotch, her eyes absorbed in a book, and a balloon that tells the man she does not need him or his purchasing power.”^[39]

Overtly feminist narratives are rare on screen and thus the presentation of a woman becoming liberated through masturbation is not common. Such scenes are however, detectable. Mary’s comment in There’s Something About Mary can be construed as a simple example of this: “Who needs him? I’ve got a vibrator!” as can Dr. Cruz’s (Roma Maffia) in Nip/Tuck: “I have my rabbit vibrator, who needs a real girl.”^[40] While in these scenes the comments seem more defensive than an articulation of liberation, they do subtly allude to the idea that masturbation can provide women the option for sexual satisfaction outside of a couple. In the historic-drama series Masters of Sex (2013–), the work at the center of the narrative refuted Freud’s ideas of vaginal (read: intercourse) orgasms being superior: in it, the researchers spotlighted that both clitoral and vaginal orgasms were equally satisfying, implying in turn, that women’s sexual pleasure could exist separately from partnered intercourse. These same themes are depicted more explicitly—and seemingly more politically—in the fantasy Pleasantville (1998). The premise of the film was two modern-day teenagers finding themselves in a black and white, conservative 1950s sitcom world. In one scene, the female teenager, Jennifer (Reese Witherspoon), had to explain sex to her “mother” Betty (Joan Allen). Betty exclaimed, “Your father would never do anything like that!” to which Jennifer countered, “Well, you know, Mom, there are ways of enjoying yourself without Dad.” Later, Betty masturbated in the bathtub for the first time and at the moment of her orgasm her world spontaneously colored. This sexless woman had suddenly become a sexual being: her world quite literally was colored by her self-pleasuring; Betty had discovered a sexuality outside of her marriage.^[41] The same thing transpired in the Chilean comedy Sexo con amor (Sex With Love) (2003). Maca (María Izquierdo)—whose husband was cheating on her—learnt how to masturbate from magazines and established a sex life for herself outside of her marital unhappiness. In the British mini-series Between the Sheets (2003) similar themes were apparent. Hazel (Brenda Blethyn) walked out on her husband and embarked on a journey of self-discovery. In one scene the character masturbated; autoeroticism was an important screen clue to her forming an identity and experiencing pleasure outside of her marriage. Equally so, in the comedy-drama The Oh in Ohio (2006), it was only after the breakdown of Priscilla’s (Parker Posey) marriage—one in which she had never experienced orgasm—that she was able to do so on her own through self-stimulation.

In Hite’s research, the theme of masturbation as a source of empowerment for women is readily identifiable in women’s comments:

In Pleasantville, Between the Sheets, Sexo con amor and The Oh in Ohio the inference in each was that masturbation was part of a journey to sexual discovery for a woman who hadn’t previously masturbated: that masturbation was part of her route to liberation and self-sufficiency. In other narratives, masturbation serves to present a character as already liberated, and notably as a feminist: the very fact that we see her masturbate is a way for her to be presented as brazen, ballsy and independent.

Masturbation and Feminism

In chapter 3 I discussed out and proud vibrators users who were unashamed about their ownership—and thus, presumably their use of—sex toys. Another interpretation is that masturbation is a way to cast a character as already liberated, if not perhaps also as a feminist.

In an episode of the sitcom 2 Broke Girls (2011–), Max (Kat Dennings) made a jibe: “Tell that to my candy cane-shaped vibrator. I call it Santa’s Big Helper.” In another episode she unashamedly yelled out in response to her roommate Caroline (Beth Behrs)—who assumed that she had heard Max crying the night before—“I was masturbating!” Compared to Caroline, Max is the much more brazen, sexually adventurous character whose masturbation is in line with her other feminist displays such as the episode when she staged a protest against her boss’s attempts to raise the price of vending machine tampons. Samantha (Kim Cattrall) in Sex and the City can be viewed similarly. In the pilot, the character declared that, “You have two choices: you can bang your head against the wall and try and find a relationship or you can say screw ‘em, and just go out and have sex like a man.” This sex like a man idea—or, as writer Erica Jong termed it, a zipless fuck^[44] —was pivotal to the construction of Samantha as a character: she was unapologetic of her sex life and took great pride in her no strings approach. As particularly relevant for this chapter however, Samantha was a character whose active sex life included both men and masturbation: she had sex with men—she enjoyed sex with men—but she was also able to enjoy her sexuality independently. Noted earlier in this chapter was Samantha divulging having masturbated for two hours. In another episode she unembarrassedly returned a “massager” that she had brought to the store because she claimed it was failing to get her off. Samantha was sexual, she was liberated, and she was unafraid of this. Her masturbation was just another way that she could experience her sexuality; that she was liberated enough to do this. Similar themes were apparent in the romantic-comedy She’s Gotta Have It (1986). The film centered on the sexually liberated Nola (Tracy Camilla Johns). Along with Nola’s desire for multiple partners and same-sex sex, masturbation was part of her ascertion of liberation; of her pleasure-on-my-terms attitude.

While construing these characters as feminists is a fair assumption, there is also the possibility of reading them as deliberately rebellious: that there is not so much an interest in framing them as feminist; i.e., that their masturbation is not necessarily a political act—but rather, is about disrupting social norms; about a character being potrayed as different, as non-mainstream, as counterculture. Certainly this is a viable interpretation for Reanna’s (Laura Prepon) masturbation in the comedy Slackers (2002). Despite her masturbation being sprung, Reanna was completely unperturbed and continued masturbating throughout the disruption. Her portrayal wasn’t one centered on feminism or liberation, but more simply about presenting Reanna as unusual.

Throughout this chapter I have argued that masturbation—particularly for women—can be liberating, but there are limitations worth spotlighting. A notable one is that when a phallic-shaped object is deployed, the act opens itself up to being construed as a penis substitute, as about lacking an apparently craved penis. This, in fact, was an issue that film theorist Greg Tuck discussed when he noted that, “The dildo has been a topic of much debate particularly among lesbians, as to whether it is inherently ‘male-identified’ or not.”^[45] This topic was in fact addressed by feminist scholar Sarah Smith: “I wanted so badly to be a “real” lesbian that I resigned myself to throwing my pearly vibrator and favorite pink jelly dildo in the trash, my eye cast toward the emerald city of lesbian utopia. Step one in feminist-approved lesbian sex is ridding one’s self of the sexual repertoire of the dick (in flesh or form).”^[46] While, indeed, the shape of objects such as vibrators and dildos can be interpreted as a phallic reference, equally so, they are objects that are simply similar to the shape of the vaginal canal. While one woman may masturbate with a sex toy and consciously be thinking about it substituting for a penis (chapter 7), for others it may simply be about using the toy that provides the most reliable pleasure.

Also worth noting are the limitations of masturbation displays being construed as liberating. While inside a narrative a character might be a brazen and ballsy feminist self-stimulating to assert her feminism, in scenes where masturbation is actually shown—notably in scenes where masturbation is sexualized—while independent sexuality might be part of the storyline, aesthetically the presentation is still in line with the stereotyped ways women are routinely presented: as sex objects for the viewing pleasure of men. Such scenes, therefore, can be presented as in fact watering down a pro-feminist message. Masters of Sex is a very good example of this: much of the series is premised on pioneering work done into women’s sexuality. Many of the masturbation scenes however, focused on the bare breasts of the attractive female masturbators: the performance of their masturbation appeared more crucial to the cinematography than the noteworthy research being collated.

Worth noting, the connection between masturbation and feminism is notoriously fraught: for example, a female character comfortable with her masturbation doesn’t automatically make a narrative as feminist. In chapter 7, I briefly discussed the Sex and the City episode where Charlotte had to be weaned off her vibrator. Despite the fact that Charlotte had been experiencing unprecedented pleasure, her friends insisted that she needed to be rehabilitated to “normal” sexual functioning: that the normal way for a woman to experience pleasure—even if of a lesser quality—was with a man. Whether or not Sex and the City promoted a feminist message has long been debated by scholars,^[47] but this scene is a good example of one of the more conservative aspects of the show and, in turn, one where a series that was arguably sex-positive was also shown to promote a very narrow type of “normal.” Such an analysis can be extended to the romantic-drama Don Jon (2013): the title character’s (Joseph Gordon-Levitt) masturbation was construed as having ruined his relationship with girlfriend Barbara (Scarlett Johansson). It was only after he found meaningfulness outside of porn—once he weaned himself off masturbation—that he was able to feel love and connection; apparently partnered, loving sex was the essence of normal sexual functioning and masturbation was the the immature

A much more renegade presentation of masturbation is its depiction not as intercourse’s less-than-satisfactory cousin, but rather as a sexuality all of its own.

Another Kind of Sexuality

Quoted throughout this book has been Betty Dodson’s work Sex For One which, as the title suggests, operates from the premise that masturbation might be different to partnered sex but that it is very bit a sexuality of its own: “Masturbation is the ongoing love affair that each of us has with ourselves throughout our lifetime.”^[48] Laqueur similarly described masturbation as “the first truly democratic sexuality,”^[49] and—perhaps most relevant for this section, “masturbation had always been associated with subversion, if not of the body politics then of the body social and the body private.”^[50] Psychologist Inge Seiffge-Krenke equally described masturbation as a “substitute for sexual intercourse for males, whereas for females it is a form of sexuality in its own right.”^[51] While interpreting autoeroticism as being about feminism and liberation is certainly viable, another reading involves thinking about it more simply as a different sexuality: that it is not about a lack of something or a substitute for someone, nor is it about acting in opposition to heterosexuality, homosexuality or necessarily even about disrupting social norms, but that it is simply another kind of sexuality.

Finding screen examples of characters who have chosen an exclusively masturbatory life over a partnered one is difficult; masturbation serving as a stand-in is the much more common presentation (chapter 7). Hints to masturbation as its own sexuality however, are evident in scenes where characters have sex with other people, but who also have a rich masturbation life and where masturbation is not presented as an unhappy concession prize, but rather, is enjoyed as a viable pleasure source: the self-stimulation of Samantha in Sex and the City and Max in 2 Broke Girls illustrate this well.

While such presentations are much rarer for men—as noted throughout this book male masturbation is seldom presented as a sexual activity that a man would sanely chose—there are a small number of examples where this theme is alluded to. Also in 2 Broke Girls for example, Oleg (Jonathan Kite) is a man with an active sex life but who also has—and presumably uses—the sex doll he has in his apartment. Similarly, for Homer in The Simpsons (1989–)—who claimed to have masturbated millions of times—or Jeff (Patrick Warburton) in the sitcom Rules of Engagement (2007–2013) who made similar claims, these are men who are both happily married and who appear to have decent coupled sex lives but who also admit to a masturbatory life. For such characters, their masturbation didn’t make them less heterosexual, less desirable, less happily coupled nor even less masculine, rather, autoeroticism was simply another way for them to experience their sexuality.

This perception of masturbation as an independent kind of sexuality is certainly detectable in academic research. In sociologist Arne Dekker and Gunter Schmidt’s work on masturbation, the authors noted that 75 percent of the people in their study “expressly state that masturbation is a form of sex in its own right and, therefore, does not interfere with partner sex.”^[52] A woman in Hite’s research similarly articulated that she didn’t construe masturbation as a substitute for sex, but rather was something she enjoyed “as something different.”^[53]

An extension of thinking of masturbation as a sexual alternative is thinking about it as queer. In the context of sexuality queer often deliberately evades definitions,^[54] but some definitions are nevertheless essential for thinking about the word as connected to this discussion. Queer theorist David Halperin contended, “Queer is by definition whatever is at odds with the normal, the legitimate, the dominant. There is nothing in particular to which it necessarily refers. It is an identity without an essence . . .”^[55] Queer theorist Cherry Smith similarly contended that the word “articulates a radical questioning of social and cultural norms, notions of gender, reproductive sexuality, and the family.”^[56] Queer seems to be a good fit for a discussion about masturbation because, while thinking about sexuality under this umbrella is often considered more of an academic than activist exercise, it also helps to position masturbation as something other: that it is not commonly perceived as the normal, nor dominant adult sexuality, even if, paradoxically, it is very common. Queer theorist Eve Kosofsky Sedgwick explicitly wrote of masturbation as crossing the heterosexual/homosexual divide because such sexualities assume sex with somebody else rather than the self.^[57] Summarizing Sedgwick’s ideas, queer theorist Jason Edwards contended:

Tuck equally linked masturbation to queerness: “masturbation therefore offers a way of understanding our sexuality outside of the usual binaries of biology (male and female), culture (masculine and feminine) and sexual orientation (heterosexual and homosexual) . . .”^[60] Laqueur also noted that in the eighteenth century masturbation “shared the closet . . . with men’s love for other men.”^[61] While Laqueur didn’t elaborate on the point, he did explicitly note that masturbation is “also decadently queer.”^[62]

As noted earlier, queer is more commonly a way of thinking about individual sexual identification rather than sexual practice and while real people do identify as queer, on screen and we rarely get enough information about a character to dub their sexuality queer before we use other more common—and easier defined—labels like heterosexual, homosexual or bisexual. Pointing, therefore, to characters who are explicitly non-vanilla—who are engaged in sexual practices that are not mainstream or whose sexuality is non-heterosexual—is a way to locate “queer” masturbation portrayals. Academic discussions of queer characters tend to center on those who would be more likely to define themselves—and be construed as—homosexual or bisexual by audiences,^[63] and thus homosexual or bisexual masturbators are an obvious starting point. One example of this is the seemingly heterosexual character Jay (Jason Mewes) in the fantasy film Dogma (1999) being exposed as sometimes thinking about men while masturbating. The writer and director of the film, Kevin Smith, contended that Jay is “ambisexual.”^[64] Equally, narratives such the television series The L Word (2004–2009), as well as films including the thriller Reflections in a Golden Eye (1967), the holocaust-themed Bent (1997) and the dramas Fucking Åmål (Show Me Love) (1998), Velvet Goldmine (1998), American Girl (2002), and Head On (1998), each show non-heterosexual characters masturbating. A queer reading can also be extended to those scenes where couples whose sex-lives appear non-vanilla—such as many of those discussed in Chapter 8 like Body of Evidence (1993), The Blood Oranges (1997), Unfaithful (2002), We Own the Night (2007), Girls (2012–), Magic City (2012–) where themes of exhibitionism, voyeurism, sadomasochism and infidelity are identifiable—and where a masturbation display helped to frame a couple’s sex life as queer.

This chapter has examined masturbation as a comparatively political act where it is presented as something worth advocating for on health grounds and where it can connote sexual liberation and feminism. Chapter 10 focuses more on the everydayness of masturbation and in doing so examines some of the different motivations that help to present it as perfectly normal.

Notes

Lauren Rosewarne, “Sex and the Supermarket: Woolworths Giving Off Bad Vibrations,” The Conversation (September 30, 2013). Retrieved October 1, 2013 from https://theconversation.com/sex-and-the-supermarket-woolworths-giving-off-bad-vibrations-18720.

John F. W. Meagher, The Study of Masturbation and the Psychosexual Life (London: Bailliére, Tindall and Cox, 1936), 76.

Edward O. Laumann, John H. Gagnon, Robert T. Michael, and Stuart Michaels, The Social Organization of Sexuality: Sexual Practices in the United States (Chicago, IL: University of Chicago Press, 1994), 86.

In Linda Levine and Lonnie Garfield Barbach, The Intimate Male: Candid Discussions About Women, Sex, and Relationships (Gretna, LA: Wellness Institute Inc. 1983), 91.

Michel Foucault, The History of Sexuality. Volume 1: An Introduction (New York: Vintage, 1980), 10.

The Australian film The Rage in Lake Placid (2003), provided a scene where Jane (Saskia Smith) suggested sex to a male colleague to relieve her tension. He declined so she masturbated as a substitute.

Roberto Martinez, “Prostate Cancer and Sex,” Journal of Gay & Lesbian Psychotherapy, 9, 1-2 (2005): 91–99, 94.

Jackie Osinski, Breaking the Back of Depression (Indianapolis, IN: Dog Ear Publishing, 2010), 4.

10.

In Linda Levine and Lonnie Garfield Barbach, The Intimate Male: Candid Discussions About Women, Sex, and Relationships (Gretna, LA: Wellness Institute Inc. 1983), 91.

11.

In Shere Hite, The Hite Report: A Nationwide Study of Female Sexuality (New York: Seven Stories Press, 1981), 61.

12.

Albert Ellis, Sex and the Single Man (New York: Lyle Stuart, 1963), 26.

13.

Violet Blue, The Ultimate Guide to Cunnilingus: How to Go Down on a Women and Give Her Exquisite Pleasure (San Francisco, CA: Cleis Press, 2013), 19.

14.

In Authentic Happiness for example, psychologist Martin Seligman identified masturbation as a “shortcut to feeling good” (Martin E. P. Seligman, Authentic Happiness: Using the New Positive Psychology to Realize Your Potential for Lasting Fulfillment (New York: The Free Press, 2002), 8). Sex researchers Cindy Meston and David Buss also identified masturbation as a self-help strategy for the depressed (Cindy M. Meston and David M. Buss, Why Women Have Sex: Understanding Sexual Motivation from Adventure to Revenge (London: Vintage, 2009)).

15.

In psychologist Claudia Black’s work on sex addiction, she quoted from a patient who noted, “Masturbation was a form of escape and solace when I was just a young boy. . . . The sexual pleasure of pornography and masturbating made a powerful tie when I was anxious, stressed, and scared. . . . It was a way for me to calm myself and to go to sleep when I was anxious” (In Claudia Black, Deceived: Facing Sexual Betrayal Lies and Secrets (Center City, MN: Hazelden, 2009), 100). The issue of masturbation as a way to manage negative moods (i.e., “regulating mood using deviant sexual fantasy and/or masturbation”) was also discussed by psychologists Rachael Collie, Tony Ward and Theresa Gannon in their work on sex offenders (Rachael M. Collie, Tony Ward, and Theresa A. Gannon, “The Management of Sex Offenders: Introducing a Good Lives Approach,” Sex and Sexuality: Sexual Deviation and Sexual Offenses, eds. Richard D. McAnulty and M. Michele Burnette (Westport, CT: Praeger, 2006): 179–206, 183).

16.

In Linda Levine and Lonnie Garfield Barbach, The Intimate Male: Candid Discussions About Women, Sex, and Relationships (Gretna, LA: Wellness Institute Inc. 1983), 92.

17.

This idea of pre-intercourse relief was referenced in an episode of Weeds (2005–2012) when Andy (Justin Kirk) mentioned getting handjobs at a local brothel prior to going on dates (although not an example of masturbation as it is defined in this volume).

18.

Jennifer Petersen and Janet Shibley Hyde, “Gender Differences in Sexuality,” Handbook of Gender Research in Psychology, Volume 1, eds. Joan C. Chrisler and Donald R. McCreary (New York: Springer, 2010): 471–491, 486.

19.

Albert Ellis, Sex and the Single Man (New York: Lyle Stuart, 1963), 26.

20.

Betty Dodson, Sex for One: The Joy of Selfloving (New York: Crown Trade Paperbacks, 1996), 5.

21.

In Shere Hite, The Hite Report: A Nationwide Study of Female Sexuality (New York: Seven Stories Press, 1981), 62.

22.

Terry Garrity, The Sensuous Woman (New York: Dell, 1969), 26.

23.

In Richard Guy Parker, Bodies, Pleasures, and Passions: Sexual Culture in Contemporary Brazil (Nashville, TN: Vanderbilt University Press, 2009), 102.

24.

Martha Cornog, The Big Book of Masturbation: From Angst to Zeal (San Francisco, CA: Down There Press, 2003).

25.

Thomas W. Laqueur, Solitary Sex: A Cultural History of Masturbation (New York: Zone Books, 2003), 185.

26.

In Shere Hite, The Hite Report: A Nationwide Study of Female Sexuality (New York: Seven Stories Press, 1981), 64.

27.

James D. Shelton, “Masturbation: Breaking the Silence,” International Perspectives on Sexual and Reproductive Health, 36.3 (September, 2010): 157–158.

28.

Wilhelm Stekel, Auto-Erotism: A Psychiatric Study of Masturbation and Neurosis (London: Peter Nevill Limited, 1953), 56.

29.

Lauren Rosewarne, Periods in Pop Culture: Menstruation in Film and Television (Lanham, MD: Lexington Books, 2012).

30.

Laura Dawn Lewis, Sensuality Volume Two: Bedtime Stories for Adults (Los Angeles, CA: Couples Company Inc. 1998), 255.

31.

Ilpo Helén, “Ethos of Sexual Liberation and the Masculine Other,” Moulding Masculinities, eds. Søren Ervø and Thomas Johansson (Burlington, VT: Ashgate Publishing Company, 2003), 259–271, 259.

32.

Jeffrey Weeks, Sexuality and Its Discontents: Meanings, Myths, and Modern Sexualities (New York: Routledge, 1985).

33.

Sheila Jeffreys, Anticlimax: A Feminist Perspective on the Sexual Revolution (New York: New York University Press, 1991).

34.

In chapter 7 this issue was briefly addressed through reference to the work of philosopher Alan Soble who praised masturbation as “not taking advantage of economically and socially less powerful women. He is, instead, flouting cultural standards of masculinity that instruct him that only wimps jerk off, and he must perform sexually with women to be a real man” (In Martha Cornog, The Big Book of Masturbation: From Angst to Zeal (San Francisco, CA: Down There Press, 2003), 158). Here, Soble highlights a role for men’s masturbation in liberating men from the often exploitative burdens of their gender.

35.

Mopsy Strange Kennedy, “The Sexual Revolution Just Keeps on Coming,” Mother Jones (December, 1976): 25–29, 28.

36.

In Shere Hite, The Hite Report: A Nationwide Study of Female Sexuality (New York: Seven Stories Press, 1981), 66.

37.

This idea was briefly alluded to in comments made by a man quoted in Linda Levine and Lonnie Garfield’s research: “I’ve never used it as a way of making love to myself. Never. I can’t conceive of sexuality without a woman” (In Linda Levine and Lonnie Garfield Barbach, The Intimate Male: Candid Discussions About Women, Sex, and Relationships (Gretna, LA: Wellness Institute Inc. 1983), 90).

38.

Thomas W. Laqueur, Solitary Sex: A Cultural History of Masturbation (New York: Zone Books, 2003), 361.

39.

Thomas W. Laqueur, Solitary Sex: A Cultural History of Masturbation (New York: Zone Books, 2003), 355.

40.

In song, this same idea was apparent in The Pussycat Dolls’ “I Don’t Need A Man” (2005).

41.

Something similar transpired at the end of the sex-drama Shortbus (2006): after attempting to reach orgasm through all kinds of sexual positions, Sofia (Sook-Yin Lee) finally had her first orgasm in the last scene of the film. At the moment of her orgasm, a bird’s eye view of New York showed the city gradually illuminating.

42.

In Shere Hite, The Hite Report: A Nationwide Study of Female Sexuality (New York: Seven Stories Press, 1981), 66.

43.

In Shere Hite, The Hite Report: A Nationwide Study of Female Sexuality (New York: Seven Stories Press, 1981), 66.

44.

Erica Jong, Fear of Flying (New York: Holt, Rinehart and Winston, 1973). The idea of “fucking like a man” is also discussed in Lauren Rosewarne, Cheating on the Sisterhood: Infidelity and Feminism (Santa Barbara, CA: Praeger, 2009).

45.

Greg Tuck, “The Mainstreaming of Masturbation: Autoeroticism and Consumer Capitalism,” Mainstreaming Sex, ed. Feona Attwood (New York: I.B. Tauris, 2009), 84–85.

46.

Sarah Smith, “A Cock of One’s Own: Getting a Firm Grip on Feminist Sexual Power,” Jane Sexes it Up: True Confessions of Feminist Desire, ed. Merri Lisa Johnson (New York: Thunder’s Mouth Press, 2002): 293–309, 295.

47.

Astrid Henry, “Orgasms and Empowerment: Sex and the City and the Third Wave Feminism,” Reading Sex and the City, eds. Kim Akass and Janet McCabe (New York: I.B. Tauris and Co, 2006): 65–82; Joke Hermes, “‘Ally McBeal,’ ‘Sex and the City’ and the Tragic Success of Feminism,” Feminism in Popular Culture, eds. Joanne Hollows and Rachel Moseley (New York: Berg, 2006): 79-95; Sue Thornham, Women, Feminism and Media (Edinburgh: Edinburgh University Press, 2007).

48.

Betty Dodson, Sex for One: The Joy of Selfloving (New York: Crown Trade Paperbacks, 1996), 3.

49.

Thomas W. Laqueur, Solitary Sex: A Cultural History of Masturbation (New York: Zone Books, 2003), 18.

50.

Thomas W. Laqueur, Solitary Sex: A Cultural History of Masturbation (New York: Zone Books, 2003), 334.

51.

Inge Seiffge-Krenke, Adolescents’ Health: A Developmental Perspective (Mahwah, NJ: Lawrence Erlbaum Associates, 1998), 90.

52.

Arne Dekker and Gunter Schmidt, “Patterns of Masturbatory Behaviour: Changes Between the Sixties and the Nineties,” Masturbation as a Means of Achieving Sexual Health, eds. Walter O. Bockting and Eli Coleman (Binghamton, NY: The Haworth Press Inc. 2002): 35–48, 36.

53.

In Shere Hite, The Hite Report: A Nationwide Study of Female Sexuality (New York: Seven Stories Press, 1981), 58.

54.

Nikki Sullivan, A Critical Introduction to Queer Theory (New York: New York University Press, 2003).

55.

David M. Halperin, Saint Foucault: Towards a Gay Hagiography (New York: Oxford University Press, 1995), 62.

56.

Cherry Smith, “What is This Thing Called Queer?” The Material Queer: A LesBiGay Cultural Studies Reader, ed. Donald E. Morton (Boulder, CO: Westview Press, 1996): 277–285, 280.

57.

Eve Kosofsky Sedgwick, Tendencies (Durham, NC: Duke University Press, 1993).

58.

Jason Edwards, Eve Kosofsky Sedgwick (New York: Routledge, 2009), 66.

59.

In Martha Cornog, The Big Book of Masturbation: From Angst to Zeal (San Francisco, CA: Down There Press, 2003), 150.

60.

Greg Tuck, “The Mainstreaming of Masturbation: Autoeroticism and Consumer Capitalism,” Mainstreaming Sex, ed. Feona Attwood (New York: I.B. Tauris, 2009), 80.

61.

Thomas W. Laqueur, Solitary Sex: A Cultural History of Masturbation (New York: Zone Books, 2003), 255.

62.

Thomas W. Laqueur, Solitary Sex: A Cultural History of Masturbation (New York: Zone Books, 2003), 82.

63.

Guillermo Avila-Saavedra, “Nothing Queer About Queer Television: Televized Construction of Gay Masculinities,” Media, Culture & Society, v. 31(1), (2009): 5–21.

64.

In Gregg Kilday, “Straight Outta Jersey,” The Advocate (July 4, 2000): 62–63, 62.