POWER

The major theme of pornography as a genre is male power, its nature, its magnitude, its use, its meaning. Male power, as expressed in and through pornography, is discernible in discrete but interwoven, reinforcing strains: the power of self, physical power over and against others, the power of terror, the power of naming, the power of owning, the power of money, and the power of sex. These strains of male power are intrinsic to both the substance and production of pornography; and the ways and means of pornography are the ways and means of male power. The harmony and coherence of hateful values, perceived by men as normal and neutral values when applied to women, distinguish pornography as message, thing, and experience. The strains of male power are embodied in pornography’s form and content, in economic control of and distribution of wealth within the industry, in the picture or story as thing, in the photographer or writer as aggressor, in the critic or intellectual who through naming assigns value, in the actual use of models, in the application of the material in what is called real life (which women are commanded to regard as distinct from fantasy). A saber penetrating a vagina is a weapon; so is the camera or pen that renders it; so is the penis for which it substitutes (vagina literally means “sheath”). The persons who produce the image are also weapons as men deployed in war become in their persons weapons. Those who defend or protect the image are, in this same sense, weapons. The values in the pornographic work are also manifest in everything surrounding the work. The valuation of women in pornography is a secondary theme in that the degradation of women exists in order to postulate, exercise, and celebrate male power. Male power, in degrading women, is first concerned with itself, its perpetuation, expansion, intensification, and elevation. In her essay on the Marquis de Sade, Simone de Beauvoir describes Sade’s sexuality as autistic. Her use of the word is figurative, since an autistic child does not require an object of violence outside of himself (most autistic children are male). Male power expressed in pornography is autistic as de Beauvoir uses the word in reference to Sade: it is violent and self-obsessed; no perception of another being ever modifies its behavior or persuades it to abandon violence as a form of self-pleasuring. Male power is the raison d’être of pornography; the degradation of the female is the means of achieving this power.

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The photograph is captioned “BEAVER HUNTERS.” Two white men, dressed as hunters, sit in a black Jeep. The Jeep occupies almost the whole frame of the picture. The two men carry rifles. The rifles extend above the frame of the photograph into the white space surrounding it. The men and the Jeep face into the camera. Tied onto the hood of the black Jeep is a white woman. She is tied with thick rope. She is spread-eagle. Her pubic hair and crotch are the dead center of the car hood and the photograph. Her head is turned to one side, tied down by rope that is pulled taut across her neck, extended to and wrapped several times around her wrists, tied around the rearview mirrors of the Jeep, brought back around her arms, crisscrossed under her breasts and over her thighs, drawn down and wrapped around the bumper of the Jeep, tied around her ankles. Between her feet on the car bumper, in orange with black print, is a sticker that reads: I brake for Billy Carter. The text under the photograph reads: “Western sportsmen report beaver hunting was particularly good throughout the Rocky Mountain region during the past season. These two hunters easily bagged their limit in the high country. They told HUSTLER that they stuffed and mounted their trophy as soon as they got her home.”

The men in the photograph are self-possessed; that is, they possess the power of self. This power radiates from the photograph. They are armed: first, in the sense that they are fully clothed; second, because they carry rifles, which are made more prominent, suggesting erection, by extending outside the frame of the photograph; third, because they are shielded by being inside the vehicle, framed by the windshield; fourth, because only the top parts of their bodies are shown. The woman is possessed; that is, she has no self. A captured animal, she is naked, bound, exposed on the hood of the car outdoors, her features not distinguishable because of the way her head is twisted and tied down. The men sit, supremely still and confident, displaying the captured prey for the camera. The stillness of the woman is like the stillness of death, underlined by the evocation of taxidermy in the caption. He is, he takes; she is not, she is taken.

The photograph celebrates the physical power of men over women. They are hunters, use guns. They have captured and bound a woman. They will stuff and mount her. She is a trophy. While one could argue that the victory of two armed men over a woman is no evidence of physical superiority, the argument is impossible as one experiences (or remembers) the photograph. The superior strength of men is irrefutably established by the fact of the photograph and the knowledge that one brings to it: that it expresses an authentic and commonplace relationship of the male strong to the female weak, wherein the hunt—the targeting, tracking down, pursuing, the chase, the overpowering of, the immobilizing of, even the wounding of—is common practice, whether called sexual pursuit, seduction, or romance. The photograph exists in an immediate context that supports the assertion of this physical power; and in the society that is the larger context, there is no viable and meaningful reality to contradict the physical power of male over female expressed in the photograph.

In the photograph, the power of terror is basic. The men are hunters with guns. Their prey is women. They have caught a woman and tied her onto the hood of a car. The terror is implicit in the content of the photograph, but beyond that the photograph strikes the female viewer dumb with fear. One perceives that the bound woman must be in pain. The very power to make the photograph (to use the model, to tie her in that way) and the fact of the photograph (the fact that someone did use the model, did tie her in that way, that the photograph is published in a magazine and seen by millions of men who buy it specifically to see such photographs) evoke fear in the female observer unless she entirely dissociates herself from the photograph: refuses to believe or understand that real persons posed for it, refuses to see the bound person as a woman like herself. Terror is finally the content of the photograph, and it is also its effect on the female observer. That men have the power and desire to make, publish, and profit from the photograph engenders fear. That millions more men enjoy the photograph makes the fear palpable. That men who in general champion civil rights defend the photograph without experiencing it as an assault on women intensifies the fear, because if the horror of the photograph does not resonate with these men, that horror is not validated as horror in male culture, and women are left without apparent recourse. Rimbaud’s devastating verse comes to mind: “One evening I seated Beauty on my knees. And I found her bitter. And I cursed her. / I armed myself against justice.”1

The threat in the language accompanying the photograph is also fierce and frightening. She is an animal, think of deer fleeing the hunter, think of seals clubbed to death, think of species nearly extinct. The men will stuff and mount her as a trophy: think of killing displayed proudly as triumph.

Here is the power of naming. Here she is named beaver. In the naming she is diminished to the point of annihilation; her humanity is canceled out. Instead of turning to the American Civil Liberties Union for help, she should perhaps turn to a group that tries to prevent cruelty to animals—beaver, bird, chick, bitch, dog, pussy, and so forth. The words that transform her into an animal have permanence: the male has done the naming. The power of naming includes the freedom to joke. The hunters will brake for Billy Carter. The ridicule is not deadly; they will let him live. The real target of the ridicule is the fool who brakes for animals, here equated with women. The language on the bumper sticker suggests the idea of the car in motion, which would otherwise be lacking. The car becomes a weapon, a source of death, its actual character as males use it. One is reminded of the animal run over on the road, a haunting image of blood and death. One visualizes the car, with the woman tied onto its hood, in motion crashing into something or someone.

Owning is expressed in every aspect of the photograph. These hunters are sportsmen, wealth suggested in hunting as a leisure-time pursuit of pleasure. They are equipped and outfitted. Their car shines. They have weapons: guns, a car. They have a woman, bound and powerless, to do with as they like. They will stuff and mount her. Their possession of her extends over time, even into (her) death. She is owned as a thing, a trophy, or as something dead, a dead bird, a dead deer; she is dead beaver. The camera and the photographer behind it also own the woman. The camera uses and keeps her. The photographer uses her and keeps the image of her. The publisher of the photograph can also claim her as a trophy. He has already mounted her and put her on display. Hunting as a sport suggests that these hunters have hunted before and will hunt again, that each captured woman will be used and owned, stuffed and mounted, that this right to own inheres in man’s relationship to nature, that this right to own is so natural and basic that it can be taken entirely for granted, that is, expressed as play or sport.

Wealth is implicit in owning. The woman is likened to food (a dead animal), the hunter’s most immediate form of wealth. As a trophy, she is wealth displayed. She is a commodity, part of the measure of male wealth. Man as hunter owns the earth, the things of it, its natural resources. She is part of the wildlife to be plundered for profit and pleasure, collected, used. That they “bagged their limit,” then used what they had caught, is congruent with the idea of economy as a sign of mature masculinity.

The fact of the photograph signifies the wealth of men as a class. One class simply does not so use another class unless that usage is maintained in the distribution of wealth. The female model’s job is the job of one who is economically imperiled, a sign of economic degradation. The relationship of the men to the woman in the photograph is not fantasy; it is symbol, meaningful because it is rooted in reality. The photograph shows a relationship of rich to poor that is actual in the larger society. The fact of the photograph in relation to its context—an industry that generates wealth by producing images of women abjectly used, a society in which women cannot adequately earn money because women are valued precisely as the woman in the photograph is valued—both proves and perpetuates the real connection between masculinity and wealth. The sexual-economic significance of the photograph is so simple that it is easily overlooked: the photograph could not exist as a type of photograph that produces wealth without the wealth of men to produce and consume it.

Sex as power is the most explicit meaning of the photograph. The power of sex unambiguously resides in the male, though the characterization of the female as a wild animal suggests that the sexuality of the untamed female is dangerous to men. But the triumph of the hunters is the nearly universal triumph of men over women, a triumph ultimately expressed in the stuffing and mounting. The hunters are figures of virility. Their penises are hidden but their guns are emphasized. The car, beloved ally of men in the larger culture, also indicates virility, especially when a woman is tied to it naked instead of draped over it wearing an evening gown. The pornographic image explicates the advertising image, and the advertising image echoes the pornographic image.

The power of sex is ultimately defined as the power of conquest. They hunted her down, captured, tied, stuffed, and mounted her. The excitement is precisely in the nonconsensual character of the event. The hunt, the ropes, the guns, show that anything done to her was or will be done against her will. Here again, the valuation of conquest as being natural—of nature, of man in nature, of natural man—is implicit in the visual and linguistic imagery. The power of sex, in male terms, is also funereal. Death permeates it. The male erotic trinity—sex, violence, and death—reigns supreme. She will be or is dead. They did or will kill her. Everything that they do to or with her is violence. Especially evocative is the phrase “stuffed and mounted her,” suggesting as it does both sexual violation and embalming.