CHAPTER EIGHT

WHITHER PORNOGRAPHY?

 

A main theme of this book is that pornography is a business like any other. It offers women rewards and insults, profits and losses. As an industry, pornography may be rawer and less self-regulating than many others. This is probably because-unlike insurance or advertising-it has only been legal for some twenty years.

Pornography needs to catch up with the changes in attitude that have swept the "outside" world. It needs to begin treating women with more respect, on at least two levels: Women who work in pornography should have better working conditions, including contracts and access to positions of power; and, women who constitute a huge and growing market for pornography should be taken seriously as consumers.

WOMEN IN THE INDUSTRY

Women who work in pornography should have better working conditions, including contracts and access to positions of power.

Women in pornography have less control over their working conditions than most women do. There are several reasons for this. One of them is that women often work without contracts.

If feminists are concerned with the well being of women in pornography, they should pressure the industry to institute protections for women.

If feminists wish to protect women in pornography, if they truly care, they must open up a dialogue with those who can exercise influence and control. Pornographers are businessmen and businesswomen, like any others. They respond to customer feedback and social pressure. So far, feminists have been speaking mostly to themselves. They have blithely assumed pornographers would never listen to their point of view. I have found the opposite to be true.

How can feminists claim that the porn industry is unreceptive to their points of view? How many feminists have taken the effort to make an approach?

The following is an edited version of an article I published in

Adult Video News (AVN), which is the main trade journal of pornography. It is part of my commitment to influence the industry toward treating women better.

AVN not only accepted the following article; the editor with whom I worked, Mark Kearnes, was among the most pleasant I've encountered. The magazine circulated the piece to men in the industry and elicited their comments, which were printed as sidebars. Then, the Spectator, California's Original Sex Newsmagazine, requested permission to reprint the article.

"How can the porn industry protect itself? First and foremost: contracts. The issue confronting the industry in the nineties will be violence against women and coercion of women, and producers of XXX tapes may well be called upon to produce contracts to protect themselves against these very charges; that is, the charge that a woman did not give true or informed consent to pose or perform. To be effective, these contracts should be executed before, not after, the shooting; they should be witnessed by two parties (who may be other actors, stage hands, even the director himself); they must explicitly state the scope of sexual activities being agreed to and the purpose of the performance, namely to produce sexually explicit material for distribution. In addition, the contract should explicitly name all the rights-national/ international distribution, use of, etc.-transferred to the producer. The document should also specify remedies for breach of contract on either side (e.g., binding arbitration to resolve differences). Each and every contract should include the standard model release and photocopied documentation of the actress's age.

"Among Hollywood types, and anyone else who deals regularly with contracts, this may seem to be nothing more than common sense, but a woman being put under contract is actually news in the porn industry. In a sense, the industry's way of dealing with the makers of XXX material is patterned by its years-gone tradition of functioning outside the judiciary, and the suspicion (sometimes justified) that the police and the court system can be expected to be either hostile or irrelevant to internecine industry concerns. The whole way of doing business is reminiscent of Bob Dylan's line, 'To live outside the law you must be honest.' But the days of ignoring the niceties of paperwork are over; today's carefully worded contract may be the only defense against a lawsuit two years down the line.

"Yet producers remain almost criminally naive about the need to document informed consent. After criticizing producer John Stagliano in person about not signing contracts with his actresses, I followed up with a phone call. When I harped upon this theme, the generally affable Stagliano snapped back, `I borrowed some forms. I'm getting contracts, okay?'

"I hope to similarly irritate other directors/producers into operating only on the basis of signed contracts.

"As an outsider looking in, I would suggest two steps the XXX industry could take to protect itself from the growing threat of lawsuits. First, lawyers involved in the Free Speech Coalition, or some other trade organization, could produce a model contract which would emphasize informed consent, detail the transfer of rights, and set forth the forum for remedies in case of a breach by either side. This contract would be made available as a standard for the industry. For a nominal yearly fee, the law firm drawing the contract, or the Free Speech Coalition, or some other organization or individual, could take on the job of registering signed contracts, so that the parties could assure themselves that they are dealing with companies that would be unlikely to involve them in a messy lawsuit. Registering the contracts would also preserve a record of agreements.

"Certainly, there is a legitimate concern in the industry about 'paper trails,' and contracts would, after all, constitute business records easily traceable to a finished product-a product which might be busted in any jurisdiction around the country. However, the type of contract involved here would bear no relation to an obscenity bust, since the finished tape is what's under question, not whether the actors were paid to perform; their performance in the feature is a given -- though a contract would establish that the performance wasn't coerced. Second, a trade organization should establish procedures by which the industry can regulate itself against genuine abuses, such as refusal to pay on a contract, or last-minute cancellation of a shoot. Most industries and professions have some method of regulating themselves. Lawyers have the Bar Association. Doctors have the AMA. Writers have the Guild. Although these trade associations often do not carry the force of law-or even of licensing-they do wield great power in terms of exposing and publicly censuring abuses. Obviously, few of the XXX industry have any wish to `air their dirty laundry in public,' but peer pressure alone can cure many situations. More extreme tactics, like boycotts by performers of a director or a company, are always available.

"The conflict between the politically correct and those who wish access to sexually explicit material is irreconcilable and, perhaps, inevitable. In this battle, pornography occupies the moral high ground, because it defends the right of a woman to choose her own lifestyle. The porn industry should rush to do its part by making women's choices explicit-in contracts and in establishing procedures that protect women from abuse by unethical producers."

WOMEN WHO CONSUME PORNOGRAPHY

Women, who constitute a huge and growing market for pornography, should be taken seriously as consumers.

Pornography is like any other business: It is out to make money. This means that producers and distributors listen to the feedback they receive from customers. Here, the much maligned profit motive can work to the advantage of women. The producers who heed their customers' voices will prosper. In doing so, they will also introduce new and higher employment standards throughout the industry.

In talking to producers and distributors, I have found them to be not only open to feminist ideas, but also eager to hear them. At one point, I had to refuse a rather persistent offer to consult on a porn shoot. The Young Turk producer wanted a feminist slant on some of the scenes of his video-in-progress. Fortunately, I was able to plead that such an arrangement might bring my objectivity into question. I say "fortunately" because I found the prospect of watching real people having real sex oddly disturbing. Instead, I offered to review the finished product on an informal (nonfinancial) basis.

My point is: The industry responds to feedback. Feminists are missing a glistening opportunity to provide real protection for women.

The message of this book is not that every woman should read or watch pornography. It is that every woman should decide for herself.