The Fetishised Female Body: Pornography, Power, and
Patriarchal Ideology in Literature
Dr. Partha Sarathi Mandal,
State Aided College Teacher, Category I,
Department of English,
Lilabati Mahavidyalaya,
West Bengal, India.
Abstract:
This essay critically
examines sexism, violence, and the objectification of the female body in
pornographic representations through feminist, poststructuralist, and
postcolonial frameworks. It argues that pornography often reinforces
patriarchal ideology by placing the phallus at the centre of sexual discourse,
thereby constructing women as submissive, fragmented, and commodified bodies.
In such representations, the male ego functions as a colonising force, while
the female body becomes the colonised space, reflecting broader patriarchal
hierarchies that marginalise women as unpaid labourers, prostitutes, and
subaltern subjects in both colonial and postcolonial contexts. These dynamics
also expose the contradictions within nationalist myths such as the idealised
“Mother India,” which fail to account for the lived realities of women.
Furthermore, pornography fetishises specific parts of the female body,
privileging scopophilic pleasure and the male gaze over holistic
representations of female subjectivity. This fetishisation, filtered through
consumerist and market-driven production agendas, contributes to the
commodification of female sexuality and reinforces misogynistic
representations. Drawing upon the concept of phallogocentrism articulated by
Jacques Derrida and femino-phobic anxieties discussed by Rosi Braidotti, the
essay explores how toxic masculinity, sexual aggression, and domination are
normalized within pornographic content. The study also considers empirical
observations regarding sexual violence in pornography and argues that such
representations may contribute to broader cultures of misogyny and violence
against women. Ultimately, the essay contends that pornographic media
dehumanises women and reduces sexual relations to biological impulses, echoing
Giorgio Agamben’s notion of the reduction of human life to bare, depoliticised
existence.
Keywords: Phallogocentrism, Pornography and Female
Objectification, Toxic Masculinity, Patriarchal Ideology, Postcolonial Feminism
INTRODUCTION
In this critical paper my research analysis and investigation would like
to focus on sexism, violence on the female body during sexual intercourse in
pornographic videos or how the boastful male ego is often sandwiched between
the colonising phallus and the colonised-submissive female genitalia. In
patriarchy, phallus is in the centre and women are mostly unpaid
kitchen-workers, labourers, prostitutes —— the fading, subaltern and inferior female body
whether in colonial/postcolonial contexts or in pornographic video contents
vividly demonstrates the lacunae of the Mother India mythology as a bourgeois
ideological construct. (Morton 40) In view of this, it could be argued that the Fundamentalists and watchdogs of
patriarchal authoritarianism often tag Sunny Leone as a bad mother because she
does not withstand with the RSS-Backed-Good Mother-Concept. Pornography
often fetishises or it can be articulated that the consumption of pornographic
videos celebrates a part over the totality —— in pornographic
videos/representations a particular part of a woman’s body is highlighted
violating the biological, anatomical, and natural spontaneity of the totality
of one breast or a single breast and the funnel through which the pornographic
gaze is filtered is pure fetishistic scopophilia
or the celebration of male gaze. The misogynistic re-representation of the
female body/bodies in pornography camouflaged by the production company’s deep-rooted agenda, i.e. the
consumerism-consumption substratum of mercantile marketable video contents and
sexual violence virulently projects the materialistic and offensive representation
of the female body in postcolonial situation(s) in pornographic videos.
Furthermore, the toxic masculinity and vituperative “phallogocentrism”
(Derrida’s term for the masculine power at the origin of the Law), male
chauvinism/machismo, masturbatory exhibitionism, connotations of sexual delight
(?), ‘Femino-Phobic’ (Braidotti 63) anxiety astutely tallied in “Sexual
Violence in Pornography: How Prevalent Is It?” (Monk-Turner and Purcell 58) can
be most helpful in order to investigate the subhuman representation of the
female body as fetish object, criminological agenda of the phallocentric
universe where women are peripheralised and marginalised voices. Pornography is
to be blamed in tandem for the really shocking number of rape, child
molestation, and violence against women. The actors in pornography are mutually
(?) involved in a task to perform the dictated action, i.e. lovemaking —— the
way the male actor dominates the geography of a female body is brutal, bestial,
and sadistic in nature. Dehumanised and animalistic approach of the male actor
is purely the causes of Horme
(impulse) and not by judgment:
Man has now reached his historical telos
and, for a humanity that has become animal again, there is nothing left but the
depoliticization of human societies by means of the unconditional folding of
the oikonomia, or the taking on of
biological life itself as the supreme political (or rather impolitical) task.
(Agamben 76)
RESEARCH METHODOLOGY
This entire work is carried out in view of these following methods:
1)
Introduction.
2)
Literature Review.
3)
Results.
4)
Findings, Discussions and Conclusion.
5)
Preparation of references and in-text
works citation. Primary sources, secondary sources, tertiary sources and
webliography were prepared accordingly.
6)
Internet and web results, innumerable
materials on Google, YouTube video analysis, newspaper reports, interviews, and
critical-scholarly discussions of the porn videos (available on many websites) are also some
of the most significant tools in order to carry out this research.
LITERATURE REVIEW
AND A BRIEF COMMENTARY ON PORNOGRAPHY
I owe my heartfelt thankfulness to my most respected Ph.D. supervisor
Dr. Ravi Kumar Yadav (Assistant Professor, Kalinga University) for suggesting
me to carefully read Richa Kaul Padte’s Cyber
Sexy: Rethinking Pornography (2018) —— this book is undoubtedly a milestone
in view of my critical enquiry. Padte’s informative and critical commentaries
brilliantly postulate the deteriorated female body in porn, male fantasy,
domination of the male body during intercourse and vice versa, gender
stereotype and many other major issues. Angus Stevenson and Maurice Waite in
their co-edited Concise Oxford English
Dictionary (2011) define pornography as “printed or visual material
intended to stimulate sexual excitement.” (“Pornography”) On the other hand Dictionary of Literary Terms and Literary
Theory further elaborates the term:
(Gk ‘writing of harlots’) In all probability the term derives from the
sign hung outside a brothel or whore’s establishment.
A pornographer is a writer of pornography, and a pornograph is a work of fiction (in the broadest sense of the term)
in which there is a considerable emphasis on sexual activity and which is, as a
rule, written in such a way as to arouse sexual excitement. It may be funny,
serious, bizarre or horrific, and, like any other kind of fiction, it may be
well or badly or badly written. (Cuddon 545)
In addition to that John Philip Jenkins in his Encyclopaedia Britannica-definition of the term scholastically
comments:
Pornography, representation of sexual behaviour in books, pictures,
statues, films, and other media that is intended to cause sexual excitement.
The distinction between pornography (illicit and condemned material)
and erotica (which is broadly tolerated) is largely subjective and
reflects changing community standards. The word pornography, derived from the
Greek porni (“prostitute”)
and graphein (“to write”),
was originally defined as any work of art or literature depicting the life
of prostitutes.
Because the very definition of pornography is subjective, a history of
pornography is nearly impossible to conceive; imagery that might be considered
erotic or even religious in one society may be condemned as pornographic in
another. Thus, European travelers to India in the 19th century were appalled by
what they considered pornographic representations of sexual contact and
intercourse on Hindu temples such as those of Khajuraho; most modern observers would probably react differently. Many
contemporary Muslim societies likewise apply the label “pornography” to many
motion pictures and television programs that are unobjectionable in Western
societies. To adapt a cliché, pornography is very much in the eye of the
beholder. (Jenkins)
Our society has become more liberal in the broadest sense of the term ——
the chasm between real and virtual is now bridgeable by modern science and
technology. There was a time when mostly teenagers and youngsters used to buy
porn DVDs and CD cassettes in order to clandestinely view those adult contents
mostly in the absence of their parental surveillance. With the passage of time
internet flourished and sparked a renaissance
globally —— pornography is now easily accessible. One now just needs a
smartphone and internet coverage in order to access the world of pornography.
When Lawrence’s Lady Chatterley’s Lover
(1928), Joyce’s Ulysses (1922) and
Radclyffe Hall’s The Well of Loneliness
(1928) were first published, these texts were considered as scandalous and
pornographic in nature. Nabokov’s controversial Lolita (1955) and Lawrence Durrell’s Black Book (1936) were also regarded as pornographic texts and
obscene. Two indispensable sorts of pornography may be distinguished:
1)
erotica (q.v.)
puts an emphasis on the physicality in sexual intercourse. Lovemaking and
bodily aspects are highlighted and presented in detail.
2)
exotica on the other hand is inundated with
sexual perversions. It talks about abnormal and perverted sexual desires.
Narcissism, sadism, scoptolagnia, masochism, fetishism, transvestism,
necrophilia, paedophilic disorder —— these are considered as sexual deviations
and abnormal in nature. These are also the common subjects which categorise the
part-and-parcel of exotica in a
nutshell.
3)
Vatsayana’s Kama-Sutra (4th c. AD), Casanova’s Memoirs (1826-38), Ovid’s Ars
Amatoria (1st c. BC) can be classified as erotica (q.v.). On the
other hand Sacher-Masoch’s Venus in Furs
(c. 1870 and Algernon Charles
Swinburne’s The Whippingham Papers
(late 1880s), Marquis de Sade’s Justine
(1791) and The 120 Days of Sodom
(1785) can be categorised as exotica.
In the Old Testament there is abundant
material/discussion on this subject of pornography. It is also critically
argued that Aristophanes’s Lysistrata
in an abundance nurtures pornographic elements. In order to further
essentialise and elaborate it can be commentated that in The Satyricon of Petronius Arbiter (1st c. AD), The Letters of Alciphron (c. 200 AD), Athenaeus’s (2nd
c. AD) Deipnosophistae, Lucian’s (2nd
c. AD) Dialogues and last but not the
least the Milesian Tales of Aristides
(2nd c. BC) are incorporated with pornographic elements. These
abovementioned texts besides carrying immense historical value and significance
with them also postulate elements of pornography as signifiers.
J.A.Cuddon in Dictionary of Literary Terms and Literary Theory considers
Boccaccio’s Decameron (c. 1349-51) as the first key work of
modern pornography. (Cuddon 549) Skelton’s poetry and the fabliaux (q.v.), for
instance are significantly characterised by pornographic, scandalous, and
vulgar elements. After the fall of the Roman Empire this area appeared to be
neglected and untouched for a certain period of time although in the Middle
Ages poetry is often characterised by erotic elements. In the Renaissance
period many works considerably dealt with pornographic elements. Rabelais’s Gargantua (1534) and Pantagruel
(1521), Poggio Bracciolini’s Facetiae
(15th c.), Pietro Aretino’s Ragionamenti
(1600), Pierre de Bourdeille Brantôme’s Vies
des dames galantes (1665-6), Béroalde
de Verville’s Le Moyen de parvenir
(1610), Cellini’s Memoirs (1558)
featured pornographic elements in their discussions. John Cleland’s Memoirs of a Woman of Pleasure, or Memoirs of the Life of Fanny Hill
(1748-9) is often regarded as a magnum opus in the field of pornographic
writings. This text inspired and flourished the human psyche to write and
compose many other books which dealt by and large with bawdy and scurrilous elements
predominantly in their texts. These texts are often so stuck —— they are
autoerotic and fetishistic in nature primarily. Rolf S. Reade’s Registrum Librorum Eroticorum, Ashbee’s Notes on Curious and Uncommon Books are
notable examples in this field of research and analysis on pornography. Apart
from that Useful Hints to Single
Gentlemen respecting Marriage, Concubinage and Adultery, New Atlantis for the Year (1762), The Voluptuarian Cabinet (c.1820), The Merry Muses of Caledonia, a Collection of Favourite Scots Songs,
ancient and modern, selected for us of the Chrochallan Fencibles(c.1800), In Prose and Verse. With Notes Moral, Critical and Explanatory
(1792) are notable works which also dealt with pornographic elements. The Adventures, Intrigues and Amours of a
Lady’s Maid (1822), The Lustful Turk
(1828), The Seducing Cardinale
(1830), The Bedfellows: or Young Misses’
Manual (1820), The Modern Rake
(1824), A Night in a Moorish Harem or
the works of Edward Sellon are erotic pornographic in nature. Sellon is a
champion writer of pornography —— especially his The Ups and Downs of Life (1867), The New Epicurean (1865), and Letters
from a Friend in Paris (1874) exponentially celebrated vulgar elements,
pornography and fetish objects. Frank Harris’s My Life and Loves (1925-9) demonstrated vulgarism and obscenity
while the anonymous My Secret Life (c. 1885) interfuses nudity with dream
elements. The words sadist and masochist derived from Marquis de Sade
and Leopold von Sacher-Masoch —— these two celebrated men of dignity in their
texts principally dealt with issues like perversion, fetishism, incest and
taboo, flagellation practices as signifiers. In Japanese context, the culture
of visual erotica flourished and affected the mainstream cultural narrative.
Visual erotica emerged as a significant tool in order to circulate messages and
provide sex education to the newly married couples, medical professionals.
Sexual intercourse was depicted in an elaborate manner in order to spread
awareness and importance was given on healthy sexual practices.
Fig.1.
The Insistent Lover, wood-block print
by Sugimura Jihei, c. 1680.
27.3 × 40.6 cm. Image: The Art Institute
of Chicago, Clarence Buckingham Collection, reference no. 1935.406 (CC0)
Makura-e (pillow pictures) was basically
designed for amusement and it also provided valuable instructions to the newly
married couples so that they can enjoy a healthy sex life. During the Tokugawa
period (1603-1867) shunga (erotic
prints) was easily accessible and the newly invented technologies known as
colour woodblock printing helped enormously in circulation and distribution of
erotic prints among the masses. (Jenkins)
PORN AND TODAY’S
GENERATION: IMPACT ON THE YOUTHS
Consumption of sexually explicit contents is the now the new trend ——
today’s youths love to spend their countless seconds, minutes, and hours on
social media accessing porn sites, adult videos; in a democratic country each
and everyone has their individual rights to watch anything they want but it is
also a fact that the youngsters of today’s generation are addicted more to porn
and less to the global youth icons like Swami Vivekananda whose towering
personality still can inspire a billion. Online gaming platforms are fantastic,
bizarre, and even grotesque —— social media is intoxication of human
imagination and it is making us machines. Capitalist profit making
multinational companies in this age of glocalisation
often display their ads on porn sites; basically they are the sellers of sexual
stamina capsules, sex toys, contraceptive pills, penis enlargement products,
female cosmetics, and for an adult to access these explicit advertisements is
permissible in a democratic country but nowadays even the teenagers, children
and under aged youths access internet and get in touch with these adult
contents/explicit ads; the aroma and fragrance of childhood are being
relinquished to accept the curse of the virtual reality. Joy is perpetual but
pleasure is transitory and perishable. Porn videos or the flaunts of the
enchanting seductress, white chicks, the dominance of the male actor over his
female counterpart, orgasm, sucking and licking, brutality in the name of
lovemaking, vulgarism, sexual hooliganism cannot be permanent joyfulness but
these are evanescent and fickle virtual realities. The libidinal energy is
achieved through a series of monotonous weird sex positions —— we will have to
make the genius Elon Musk or a global phenomenon Swami Vivekananda our role
models instead of an animalistic seducer Johnny Sins or a naughty plumber boy
Jordi El Niño Polla.
It could be argued that the horny porn-stars with their voluptuous swags
weave hypnotically the threads of fallacious virtual reality in order to
fantasise the unconscious and repressed telos
of the youths. In the pandemic period India witnessed its record number of
viewership on porn sites —— people loved to spend hours accessing pornography.
The following stat scientifically analyses a huge jump in porn
consumption during the lockdown period in India. When the lockdown was induced
youths swamped like bees on Amazon Prime Video, Netflix, and obviously the porn
sites witnessed a massive jump in their viewership.
Fig.2. TNN’s “Indians Watching more porn during Covid-19 lockdown.”
In view of this abovementioned stat which was published in The Times of India on Apr 16, 2020 I
would like to cite some relevant lines from India
Today article entitled as “Pornography gets a pandemic boost, India reports 95 per
cent rise in viewing”:
Indians seem to be leading
the world in porn consumption, reporting a 95 per cent spike in traffic to
adult sites during the three-week lockdown.
Data show the country, the
fastest-growing smartphone market, registered a 20 per cent jump in consuming
porn content even before the official restrictions kicked in late March.
Although several Indian
telecom operators have blocked a number of adult sites, their content still can
be accessed on mirror domains.
Released by Pornhub, the
world's biggest porn site, the statistics delivered insights into consumption
patterns since the coronavirus pandemic induced quarantines and lockdowns
across the world. (Kannan)
After
critically analysing the crux of the abovementioned newspaper article I would
like further add few points which I strongly believe are really important to
elucidate and examine in order to understand the abysmally threatening impacts
of pornography, adult contents/jokes, social media gossips, fraudulent gaming
applications etc. on youths and children:
1) The vicious and malicious
malwares attack smartphones and steal our personal data. Doctored videos,
morphed or superimposed digital images are instrumentalised in order to
blackmail the victims. Cyber attacks and cyber criminals are genius in the
field of hacking information from our personal computers, the alarming rate of
cyber attacks in this recent pandemic period raised tension and anxiety.
2) Women are the worst victims
of cyber attacks. Cyber criminals often threat their female targets of posting
their private moments or personal information(s) on internet. As a result the
vulnerable victims are trapped and they are forced to pay a hefty amount to the
cyber criminals.
3) Child pornography is a
criminal offense. The representation of gullible women on social media
platforms as sex objects, online trolling of rape victims by the sadistic
netizens, roasting videos are often derogatory, harmful, and anti-democratic in
nature. Social Media influencers are often paid by the corporate franchisee to
advertise their products and in pretty number of cases the quality of those
products are not up to the mark. These paid influencers and self-acclaimed
celebs easily target the vulnerable sections of their subscribers to purchase
those online products by hook or by crook.
4) Few days ago I was
streaming the Netflix web series entitled as Jamtara-Sabka Number Ayega (2020) on my smartphone and this story
comments on the notorious Jamtara-fraudsters and cyber criminals who are
ambitious and materialistic in order to pursue their cherished dreams to become
resourceful and wealthy. Jamtara is
an unrivalled plethora to the researchers in order to study criminal
psychology, cyber crimes, fraudulent hackers and perpetrators. There is an evil
nexus between the administration and the cyber criminals as Jamtara blatantly exposes the greedy
negotiation between the goons and the cops. An underprivileged district Jamtara
where the rays of development hardly reach, the local inhabitants are mostly
illiterate and in order to survive in this cruel godless universe they have
transformed Jamtara into a criminal hub —— the den of cyber attackers and bank
fraudsters. Bank accounts and passwords need to be strictly monitored by the
users and it is mandatory to change online banking password after a certain
period of time in order to prevent scams. The banks are taking initiatives and
they are spreading awareness message among its customers to prevent cyber
frauds.
SOCIAL MEDIA, CYBER CULTURE
AND PORNOGRAPHY
Secularism is under attack in India. Intolerance debates, religious bigotry, mob lynching, fascism or the hijab controversy are the biggest newsmakers on national televisions. Social Media is now strategically used as an instrument by a small number of powerful people in order to weave their secret propaganda —— I call Social Media the biggest garbage of doctored videos, the ruthless machinery which spreads lies and hate speeches against impoverished minority communities, weak and vulnerable sections of the society are bullied and roasted on Facebook or on WhatsApp status by the sadistic-hegemonic groups or classes. During violence and communal riots Social Media is used as a tool just for the sake of spreading intolerance. Fake news now spreads even faster than light. The study of literature is universal and comprehensive in nature and the students of literature are believed to be sensitive to the miserable conditions of the peasants, weavers, minorities, factory workers who are the real heroes of India but it is the greatest irony of fate that now they are being crunched under the surveillance of a Big Brother who loves monopoly, privatisation, authoritarianism and fascism. Since ages the powerless sections are dominated and oppressed by the powerful classes —— only a very few number of bureaucrats, industrialists, powerful ministers who belong to the centre of the power structure make the laws of the land. They decide and we follow.
The
title of my research article is “ The Fetishised Female Body: Pornography,
Power, and Patriarchal Ideology” and the abovementioned analysis and critical
commentaries which I have penned down from a scholar’s point of view found it
intrinsic and unavoidable in order to figure out those adjacent relevant
subfields, i.e. crisis on social media and women’s role, present day banking
scams, cyber attacks, secularism etc. besides keeping a critical eye on the
main objectives and intentions of my write ups, i.e. the subhuman and annoying
representation of the female body and sexual violence in pornographic videos
and adult contents. My appeal to my dearest readers is not to put aside those
subfields as irrelevant and whimsical —— these discussions are auxiliary but
also essential parts to the wholeness of the focal point of the text. In order
to write this paper I thought it is necessary to visit the adult sites, to read
adult jokes, to view and analyse those so-called dirty memes purely for my
scholastic endeavor. I had accessed world’s some of the most visited and
popular porn sites, studied the lifestyle, struggles of the porn-stars. I
wholeheartedly acknowledge the contribution of the widely scattered social
media adult memes, numerous YouTube shorts on adult contents, the sexist and
biased representation of the female body on Instagram reels, ejaculation on the
faces of the white blonde by the aggressive black male actors in interracial
porn videos and the feminist analysis of the given act from a scholar’s point
of view, animalistic doggy style and sodomite intercourse, physical or
psychological torture on a female body during a gangbang, aggressive male
behavior, numerous video lectures on YouTube on this topic of discussion,
interviews, newspaper articles, internet search results and biography of the
porn actors fertilised my critical thoughts to think and to progress in my
literary mission.
In
view of the abovementioned discussion I would like to cite a scholarly article
entitled as “Cultivating a Critical Classroom for Viewing Gendered Violence in
Music Video” ( Rodier et al. 63) where the erudite scholars anathematised
sexual violence and the derogatory sex culture where women are saleable fetish
objects. This article is a brilliant commentary on the utilitarian
glorification of heterosexual intercourse in most of the porn videos where the
male body dominates and tortures the soft female body. As Rodier et al. further
elaborates:
The matter of violence against women is an
ongoing concern to feminist scholars, who argue that violence is best
understood in cultural terms. This means that individual acts of violence
against women are not simply isolated outbursts but practices that are
structurally enabled by a rape culture (see Brownmiller; Donat and D’Emilio;
Buchwald, Fletcher, and Roth). Susan Brownmiller, for instance, argues in her
groundbreaking book, Against Our Will,
that rape is not fueled by sexual desire, but rather is an expression of
masculine power. In the wake of Brownmiller, feminist scholars have
conceptualized rape as part of a continuum of gendered violence that includes
nonconsensual sexual activities, sexual assault, intimate partner violence,
child abuse, and incest, all of which are enabled by hegemonic gender roles and
related patterns of domination and subordination. Despite the enormous efforts
on the part of feminist scholars and activists to challenge the patterns of
male domination that enable widespread gendered violence, recent statistics are
clear that sexual violence continues to be a part of many of our lives. One
explanation for the persistence of a rape culture—that is, a culture that
implicitly condones sexual violence against women—is that sexual violence is
concealed beneath myths and misconceptions that direct attention away from both
its frequency and its severity. Predominant among such social myths is the
insistence that women are often partly responsible for the violence done to
them (i.e., victim-blaming). These myths become particularly forceful within
the context of domestic violence. As Patterson and Sears point out, domestic
violence is generally associated with choice—those who “choose” to stay in
violent relationships are ultimately held responsible for the actions of their
perpetrators. Recent feminist scholarship has addressed cultural narratives,
myths, and misconceptions that uphold a rape culture by contextualizing them in
relation to postfeminism (Projansky) and neoliberalism (Patterson and Sears).
Though a notoriously complex concept, one of the central tenets of postfeminism
is that women are free to exercise almost limitless choice and thus full
responsibility for their lives. In this way, postfeminism neatly lines up with
neoliberal formations of the ideal modern subject. (Rodier et al. 63)
In a nutshell Rodier et al.
in their erudite research work have critically pointed out these following
observations:
1) Feminist activist and
American journalist Susan Brownmiller in her epoch-making book entitled as Against Our Will: Men, Women, and Rape (1975) critically observes that rape culture is
often fuelled by masculine aggression. In an unequal power structure
patriarchal surveillance oppresses women and pushes them at the periphery level
while men rule from the centre.
2) Women are dominated and they are subordinate voices in patriarchy. Child
abuse is one of the most annoying aftereffects of pornography video
consumption.
3) Rape-victims are bullied and taunted by the insensitive society. Rape is
not enjoyable but it is savage, rude, and monstrous.
4) Women continue to be bullied and seduced perpetually in heterosexual
power structure.
5) Lovemaking is often forceful. Women are not the sex toys. They have also
their own individual rights. Marxist feminist thinkers continue their fights
against phallocentric monopoly.
6) Women are metaphorically orphans in patriarchal culture.
I
would like to critically examine the issues of sexual violence in a porn video
entitled as “Lisa Ann and Danny Wylde My Friend’s Hot Mom” which can be
accessed at
www.biguz.net/watch.php?id=249206&name=lisa-ann-%26-danny-wylde-my-friend%27s-hot-mom
and this adult content is the celebration of heterosexual power structure. The
male actor bangs and pounds into the female genitalia of the female actor named
Lisa Ann, the unparalleled seductress-queen of the porn industry. This
26:27-minutes long porn video charges and fantasises the imagination and
incorporates elements of strange, ugly, and deceptive virtual reality quite
detached from the phenomenal real world. The retrogressive-prospective penile
strokes, vaginal orgasm, mamma’s hot friends, MILF revolution, big breasted
horny white female and a domineering black cock assemble every nook and corner
in most of the pornographic videos. Spirituality and relationship writer Sarah
Regan in her scholarly written internet article entitled as “11 Expert-Approved
Sex Positions For Couples With High Sex Drives” critically comments on the best
sex positions which can help to prompt
sexual arousals vis-Ã -vis this article is also concerned about healthy sex life
as it diligently can provide mental and psychological satisfaction to the
couples. On the other hand, The Times
of India-article entitled as “9 Sex
Positions And The Number Of Calories They Burn” scrupulously elaborates that
good time on bed is no less than a good sporting exercise because calories
eventually burn during sexual intercourse which as a whole help to increase
body stamina and fitness. Pejorative, it is obviously in most of the cases the
way male actors merciless penetrate and whack the female body during
intercourse. In Lisa Ann-starrer porn video entitled as “Brunette Mom Lisa Ann
Makes Sex Like A Crazy With Big Boobs” the female breasts are fetishised and
these parts of a female body have enough inferno to light the smartphone screen
ablaze. Twisting of breasts is emblematic of masculine hegemony/dominance. In
“Young Guy Fucks His Stepmom Vanessa Cage After Reading Her Diary” incest and
taboo are presented in a dramatised manner in order to fantasise. On the other
hand porn videos like “Slutty Blonde Katalina Kyle Has Anal Sex With Two Men”,
“Hot Latina Ashlyn Peaks Prefers Big Cock Inside Her Wet Cunt”, “Loser Caught
In The Hands Of Lustful Teacher And Was Exploited By It”, “Big Boobs MILF
Robbin Banx Cheats On Her Husband But He Even Likes It”, “Skinny Guy Fucks His
BBW Stepmom Sybil Stallone From Behind” and numerous other porn videos
scattered on internet in a rhizomatic
format are the greatest celebration of heteronormative power structure in most
of the cases though many porn videos are scripted on lesbianism or
homosexuality. Men seduce from top and women are subordinate-passive voices ——
purely for research-purpose, after finding the dwindling gender inequality and
massive violence against women in those videos I am stunned, shocked, and
surprised at the perpetual celebration of heterosexuality in a typical
patriarchal society. These abovementioned porn videos are the monotonous
repetitions of a series of bizarre sex positions in pretty number of cases ——
missionary, doggy style, cowgirl, reverse cowgirl, spooning, oral, lotus,
upstanding citizen, butter churner, the pretzel dip, spider, spork, snow angel,
standing wheelbarrow, cross booty, golden arch, table top, valedictorian, stand
and deliver (Thapoung et al.) and many others. These positions are
reprehensible and celebrations of male chauvinism.
MARKETABLE REPRESENTATION
OF THE FEMALE BODY IN INDIAN CONTEXT
I would like to further elaborate my
discussions on sexual violence with reference to Indian rapper Badshah’s
typical misogynistic “Genda Phool” song in order to inculcate and infuse a
comparative critical study between violence against women in pornographic
videos or in misogynistic bullshits of Badshah and Yo Yo Honey Singh. Badshah’s notorious/scandalous
“Genda Phool” song which maliciously/viciously/malignantly triumphs toxic
maleness. Badshah in his controversial "Genda Phool'' has been
unsuccessful to turn out to be an explorer in soul-making just like Bob Dylan
in his messianic working class revolution in "Chimes of Freedom" or
Abbasuddin Ahmed in his timeless "Amay Bhasaili Re" as unlike these
two celebrated heart-piercing legendary songs which are at their best in
illustrating an assortment of agathokakological existents of our mundane lives
or in their solemn endeavor to discover a metaphysically thoughtful perception
of human life or in their exhilaration of vasudhaiva
kutumbakam ("the entire world is a solo family") belief or in
their protuberance of harmonious equilibrium or in their solicitous significant
insights for the equivalent allocation of possessions to the
peripheralised/marginalised and blue-collar working class people who fit into
the border line of an unequal power sharing, Badshah's intoxication of
imagination like that of wine in "Genda Phool'' unflinchingly only
perambulates salacious/pornographic vituperation, malignant masculinity and
gender discrimination. In the midst of incalculable memes, video adaptation(s)
which are now going viral on social media of Badshah's "Genda Phool"
which unquestionably is a derivative/plagiarised text as the bigheaded
singer/rapper purloined lyrics from an aged Bengali folk ballad called
"Boroloker Bitilo" with no due acknowledgment to its actual
songwriter Kahar who is a mouthpiece of the "have nots" category
(Marx in Wen 74). "Genda Phool'' time and again fetishises or let us
articulate it does also exaggerate the fraction over the entirety/wholeness; in
case of Badshah's "Genda Phool" song a specific fraction of
Jacqueline Fernandez's bodily jouissance
is spotlighted/zoomed infringing/contravening the organic, corporal, usual
impulsiveness of the entirety of one boob or single boob and the shaft through
which the pornographic visualisation or ogle is filtrated is unadulterated
fetishistic schopophilia or the
jamboree of male gaze or what is defined as the adoration of bigotry, sexism,
machismo and male chauvinism. Badshah's machismo achieves vicious pleasure
principle in invigorating/consecrating profoundly lalochezia to the topoi
of this misogynistic/sexist song entitled as “Genda Phool”. This song is
demarcated as a kind of masturbatory exhibitionism, an abusiveness additionally
connected with the showy gestures of the insignificant bourgeoisie (Najarian
20). Is there any wonder that the rurban lyrics
used by Badshah should be so fetishistic, so autoerotic, so autotelic and so
immovable? (Levinson 193) Badshah's "Genda Phool" pivots on
"phallogocentrism". The conceited and cocky TikTok video content
creators, YouTubers or the most viewed vloggers are sharing and uploading on
internet an assortment of forms and adaptation(s) of Badshah's "Genda
Phool'' just for the sake of amusement at an exceedingly low-priced rate but
during this era of worldwide virulent disease COVID-19, communal segregation
and quarantined loneliness my scholarly nobility is representatively finding
out the nauseatic malodorous stinking of gender inequality, re-representation
of formulaic femininity, patricentric domination, Master/Slave,
Centre/Periphery Dichotomy or the 21st
century edition of a She-tragedy in these incredibly/inventively/esthetically
pitiable adaptation(s) or in Badshah's controversial "Genda Phool'' song
itself. “Genda Phool” is not a spokesperson of Dalit, Adivasi or Minority women
as the trajectory of this misogynistic text centres around the standard of
living, ostentation or the embellished colossal imago of an affluent papa's
princess who has an elongated and flabby hair. Is Badshah’s “Genda Phool”
appropriate for those peripheralised/marginalised/subaltern women folks who are
the representatives of "[n]on hegemonic groups or classes." (Gramsci
xiv). In her "Can the Subaltern Speak?" (1985) Gayatri Chakravorty
Spivak (1942) highlighted the subaltern continuation of women and their
vituperative dehumanised existence in our phallocentric society and to Spivak
subaltern/colonised women are twice as subjugated in colonial/postcolonial
state of affairs: "...the subaltern has no history and cannot speak, the
female as female is more deeply in shadow." (271) The voluptuous butterfly
tattoo on the curvaceous waist of Jacqueline Fernandez in “Genda Phool” intoxicates symbolically a camouflaged political
agenda with it as it viciously/maliciously unveils the producer's
deep-rooted consumerism-consumption
substratum of mercantile marketable video contents/presentations agenda, i.e.
the materialistic representation of the female body in this Age of Neo-industrialisation
which is repetitively/unremittingly rustled up in this song in the technique of
zooming the bare sexy abdomen or the thumka
and sexy cleavage of the projected female characters on this video song.
Similar to this Honey Singh's notorious and sexist re-representation of the
female body virulently projecting women characters as objects of commodity
fetishism in his controversial and misogynistic rap hits like
"Choot", “Blue Eyes”, “Love Dose” or Wajid Ali and Mamta Sharma’s
super hit duet song "Fevicol Se" —— Jacqueline Fernandez, Badshah and
Payal Dev starrer "Genda Phool'' which has already been viewed over
897 million times globally on YouTube in the last 24 months actually
collocates a couple of adversative doctrines, i.e. arrogant male hubris/machismo and subservient,
stereotypical and colonised/marginalised position of women in an unequal
heteronormative phallocentric power sharing where phallus is in the nucleus of
the power structure and minority voices, hijras, homosexuals, women, downtrodden/subjugated/battered
voices are kicked away at the margin level of the power structure. Women’s
quite defenestrated continuation in the uneven surveilling ethos of
phallocentric power structure which is
inflexible, controlling and tyrannical/authoritarian has for a second
time been hypothesised in “Genda Phool” song: "khelta nahi cricket wricket/ Par lelu teri wicket wicket".
These treacherously patricentric bullshits exultantly cherishing the
boastful male hubris, machismo and male chauvinism have been shockingly
perpetrated as lyrics in this ostentatiously sexist bonanza, also cast women as the objects of sex or better to
say subjugated baby-making machines —— I
would like to articulate, where "wicket" metaphorises male sex organ,
i.e. phallus and these vicious/voluptuous lyrics brief us about the fulfillment
of the sexual fantasy and the satisfaction of the repressed/unconscious carnal jouissance of the hero boy of this song
through masturbatory exhibitionism/intercourse with the "Genda Phool''
girl. The “Genda Phool” girl is not perceptibly ticking the boxes in the
approved manner of RSS-BACKED-GOOD-MOTHER-CONCEPT as she is not demonstrated as
sanskari on this video; Jacqueline Fernandez will be tagged as
"Other"/Bad Mother by a group of double-tongued humbugs who will be
noticeably having instinctive ejaculation(s) of semen during nap/wet dream(s)
when the escalated/engorged/enlarged/firm confidence of their phallic-Eiffel
tower-like-penile erection will get a hold of sadistic pleasure principles/jouissance at the voluptuous and sexy thumka, postcolonial female ass or the
hot sizzling female body of the women characters projected on this music video
but as expected these hypocritical parasitic/predatory leeches on the contrary
will also initiate disparaging tittle-tattles, to and fro or ifs and buts
about such an quintessential and iconic
artist like Jacqueline Fernandez only for the reason that she is not a man at
the same time as likewise the staunch followers of “phallogocentrism” aided/assisted by the
pettifoggers of RSS-BACKED-FANATICISM,
Fundamentalists and longstanding watchdogs of patriarchal
authoritarianism tag SUNNY LEONE AS A BAD MOTHER.
Fig.3. Arushi Jain’s “Here’s everything to know about Badshah’s Genda
Phool controversy.”
PORN-STARS: GRAND
VERSUS MINI NARRATIVE
It could be interpreted that the porn-stars’ decentred alternative
subcultural existence challenges the dominant cultural narrative —— these low,
filthy and untouchable porn-stars (obviously in the eyes of mainstream cultural
narrative) are bullied, alienated, and
choked by the so-called standard and elite groups who rule and control the flow of powerful
mainstream culture. These actors of porn movies neither have the intellectuality
and scholasticism of Satyajit Ray or Steven Spielberg nor are they elated and
worshipped as larger than life Hollywood superstars —— they are also not
generally seen in grandiloquent and civilised award ceremony shows although
with due exceptions, however but they rule the wildest and darkest dreams. They
are uncanny and the unbeatable conquerors of the unconscious mind. They
dominate the darkest wet dreams. On the smartphone screens may be for temporary
short moments they enrapture Eros.
Bodily fluids gush out and splatter as cums or sometimes results in coitus interruptus —— youths get
detached from the reality and sneak into the unchartered territory of carnal
energy and libidinal efflorescence. Lisa Ann, Angela White, Shyla Stylez, Mia
Khalifa and many others are often regarded as world’s sexiest and hottest
porn-stars who monopolise the hidden folders on the smartphones of a countless
number of people —— they satisfy virtually the unflinching carnal desirers of
patriarchy.
PORNOGRAPHY: A STUDY
OF FLESH AND BLOOD
Indrani Haldar, who is a renowned Bengali actor brilliantly, played her
role as a docile and submissive housewife in the critically acclaimed movie
entitled as Jara Bristite Bhijechhilo
(2007), where the character she played was forcefully seduced by her newly
married hubby on their first night. Against her wishes and permission or mutual
consensus her husband in order to boast up his male ego/machismo violently
started smooching her —— harassing hook-ups, violence against women by their
male counterparts on the lusty first night predominantly premise in our orthodox
patriarchal Indian society where wives are treated as sex objects and not as
human beings in flesh and blood. In the abovementioned movie the sadistic and
hypersexual Indian husband seduced his wife against her wishes. This movie is a
typical example of marital rape, sexual violence, and passive existence of
Indian housewives who are economically dependent on their husbands in most of
the cases.
This movie received a top rating on IMDB. This movie rebels against
heterosexual power structure where women are passive voices and are the silent
observers of patriarchal power sharing. Marital rape is a serious issue and it
is brutal, injurious, and anti-democratic in nature where the rights of a woman
are killed.
Fig.4. “Indrani Halder Very Hot N Sexy Lovemaking.”
CRITICAL ARGUMENTS
AND COUNTER-ARGUMENTS: RESULTS AND FINDINGS
Infinite number of salutations to Walter S. DeKeseredy and Marilyn
Corsianos’s joint venture in their excellently well written magnum opus Violence against Women in Pornography
(2016). This Routledge- book is inundated with extraordinary research analysis
in the field of pornography —— critical chapters are well-arranged and neatly
penned down. This brilliant book in its noble adventure in critically
unwrapping the scholastic commentaries and notable data analysis on
pornographic video consumption and “the degradation, abuse, and humiliation of
women” (DeKeseredy and Corsianos 17) has set a milestone to the scholars and
researchers in order to investigate the abusive, violent, and fetishistic
representation of women in pornography. Awfully demeaning and passive voices of
women in pornography hint at the aggressive phallocentric monopoly and sadistic
machismo. This insightful book is a specialist in critically commenting on
these following issues. On social media and internet the demeaning and
degrading superimposed images and digital photos of female models and adult
video actors are perniciously low in nature —— neither women are sex dolls nor
are they saleable commodities. They are human beings in flesh and blood. A
democratic society is mandated to ensure their safety and security. Today’s world hangs on social media. Internet
is a global phenomenon. Item numbers, incorporation of sex scenes in adult web
series are instrumental in order to galvanise the youth-attraction. Corporate
production companies are caught up in a rat race in order to earn more and more
profits —— sex is a tool, it has become a business-propaganda-machinery in
order to fantasise and fetishise the sizzling, hot, and horny female actors as
saleable products. Youths are being sequestered in a strategic manner from
learning and reading practices. Hanging on social media, access to adult
contents, all eyes on the porn sites, live-in and check-in to the OYO rooms for
a big bang —— these are the biggest and most challenging obstacles which are
alienating the youths away from books and physical exercises. The youths are
more interested in PUBG or Garena Free Fire —— they are least concerned about
gymnastics, meditation, body buildings, cricket and football. We live in a
“post-Playboy world” (Jensen) that
features women as subordinate to men. Multiple extramarital affairs, back
bitching, mendacious online relationships, “fraudulent and non-divine” (Said
333) virtual chatting platforms, discrepancy between online and offline world,
televisual virtual reality, YouTube buffering(s), Facebook pokings, Instagram
reels and thousand others in preponderance set the paradigm of today’s online
world where we receive perpetual delight in killing bots in PUBG not in
companionable, innocuous friendship in black and white offline mode. Spanking,
slapping, whipping, and gagging in pornographic videos are the part-and-parcel
of male aggression and female submission. Male actors are like hungry perpetrators
in porn contents and mainly their body language during pornographic video
shootings represents tireless dominance. They rule, oppress, tear, and colonise
the female body. The porn industry is growing faster and it is awful and
degrading that some adult contents feature underage female actors. Dehumanising
and painful tasks are being performed by a group of underage actors and in
pretty number of cases they are economically underprivileged sections ——
situation and crass reality are the causes which implore them to do so. Ariel Levy, in her highly praised book
entitled as Female Chauvinist Pigs: Women
and the Rise of Raunch Culture (2005) warns against the commodity fetishism
of the women’s body in pornography. Teenage-models, aspiring porn-stars go
through breast-enlargement surgery and medications in order to achieve their
goals. Porn videos are not merely shot for male sexual arousals; it is also
violent and aggressive in nature.
Fig.5. “Does Watching Pornography Affect Mental Health?”
CONCLUSION AND
DISCUSSION
Cyril Dixon’s extremely important newspaper article entitled as “Online
porn turns men into monsters and one of them killed my sister” in abundance
exposes the terribly brutal impact of porn culture on women. This scholarly Daily Express article which was published on Apr 20, 2022 and which can
be accessed at
www.express.co.uk/news/uk/1598597/online-porn-sexual-predator-murder-anti-pornography-campaigner-victims
caused me to screech with pain. This article comments on the besmirching and
abominable representation of women in pornography. According to the
abovementioned article there is a relationship between the overwhelming boom in
porn industry and the alarming surge in attacks on women (Dixon).
Fig.6. “Understanding the issues: young people, pornography and violence
against women.”
Explicit contents turn men into potential monsters —— these groups of
pathological people (DeKeseredy and Corsianos 1) are imbued with uncontrollable
penile erection and excessive sexual desires. They are convinced to believe
that aggression and violence are normal human behaviours during sexual
intercourse. Dixon cites that pornography directly fuels women exploitation and
violence.
Porn-stars and their colossal hanky-panky in pornographic videos challenge
the dominant cultural canon and its holier-than-thou colonising mindset which
loves to rule from the centre. The unholy and aberrant pornographers’ alternative
decentred/perverted “multicultural
cosmopolises” (Nayar 33) are de-territorialisational, de-stereotypical, and
uncivilised in the eyes of the guardians of civilisation who set the standards.
Porn-stars sparked the repressed and unconscious territory, each and everyone
now just needs a magical wand to vanish all the problems and sadness. After
days of my tireless research on this field I stand firm by my opinion that
women are the worst fatalities of patriarchy-driven commodity fetishism ——
violence against women in pornographic videos is often fuelled by
uncontrollable bodily fluids while penetration allocates male domination and
female subordination.
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