{"title":"如何不看女权主义色情作品","authors":"R. Heck","doi":"10.5206/FPQ/2021.1.10609","DOIUrl":null,"url":null,"abstract":"\nThis paper has three goals. The first is to defend Tristan Taormino and Erika Lust (or some of their films) from criticisms that Rebecca Whisnant and Hans Maes make of them. Toward that end, I will be arguing against the narrow conceptions that Whisnant and Maes seem to have of what “feminist” pornography must be like. More generally, I hope to show by example why it is important to take pornographic films seriously as films if we're to understand their potential to shape, or misshape, socio-sexual norms. \n","PeriodicalId":387473,"journal":{"name":"Feminist Philosophy Quarterly","volume":"37 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"How Not to Watch Feminist Pornography\",\"authors\":\"R. Heck\",\"doi\":\"10.5206/FPQ/2021.1.10609\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\nThis paper has three goals. The first is to defend Tristan Taormino and Erika Lust (or some of their films) from criticisms that Rebecca Whisnant and Hans Maes make of them. Toward that end, I will be arguing against the narrow conceptions that Whisnant and Maes seem to have of what “feminist” pornography must be like. More generally, I hope to show by example why it is important to take pornographic films seriously as films if we're to understand their potential to shape, or misshape, socio-sexual norms. \\n\",\"PeriodicalId\":387473,\"journal\":{\"name\":\"Feminist Philosophy Quarterly\",\"volume\":\"37 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2021-03-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Feminist Philosophy Quarterly\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5206/FPQ/2021.1.10609\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Feminist Philosophy Quarterly","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5206/FPQ/2021.1.10609","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
This paper has three goals. The first is to defend Tristan Taormino and Erika Lust (or some of their films) from criticisms that Rebecca Whisnant and Hans Maes make of them. Toward that end, I will be arguing against the narrow conceptions that Whisnant and Maes seem to have of what “feminist” pornography must be like. More generally, I hope to show by example why it is important to take pornographic films seriously as films if we're to understand their potential to shape, or misshape, socio-sexual norms.
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