It’s something Eilish has talked about before, but one of the things that made it so impressive this time was where she said it: in an interview with Howard Stern. Throughout his career as a shock jock, Stern has proudly stood for the crassest in free speech. (A typical Stern stunt: in 2014, the blogger Perez Hilton fingered one of Stern’s male writers live on air.) Before the internet, he was one of the main forces in creating crossover stars from the adult industry. An invite onto his show was a way to break into the mainstream.
Not that his support necessarily translated into respect for those who worked in the industry. When the performer Sasha Grey (famous for her extreme BDSM scenes, in which she was choked, punched and slapped) accused Stern of being a “closet racist” in an interview with Rolling Stone in 2009, he didn’t just defend his own honour, he attacked hers: “What a genius… Please. Just tell me how much cock you can suck and how far you can swallow a hot dog.” But he liked porn, and helped create a society where porn was the norm.
And yet, confronted with Eilish’s story, his response was absolute agreement. “When I was little, the only thing you had was, like, a New York Times girdle ad… The first time I had sex, I had no clue what the fuck I was doing. There was a certain innocence about it. And I often say, if I had porn when I was a kid, I mean, I would run around spanking people thinking that this was what they would like.”
What he says here is a betrayal of the underlying fantasy of porn. Porn deals, of course, in many different fantasies — fantasies of what women are like and what men are like, different kinks and fetishes — but underlying all of that is a fantasy of inert sex. Sex that, however physically demanding, only reveals and does not change the people involved.
In the same interview in which she insulted Stern (an interview which was, it should be remembered, a shop window for her work and persona as much as a genuine revelation of herself), Grey delivered a perfect articulation of that fantasy. “I am a pervert,” she told the journalist, rejecting the idea that women enter porn because of trauma. “If I am working out any issues through porn, it’s anger at society for not being open about sex.” She claimed her interest in BDSM dated to her childhood — that what she showed in porn was her authentic, inherent self, and that whatever she did was in the service of her own desire to get off.
At least one person who had worked with her expressed scepticism about this. A producer quoted in the article said that he thought her “extreme presence” was a calculated means to raise her profile. Certainly, all the incentives aligned to make extremity work for her: as the “dirtiest girl in the world” (to quote the title of the Rolling Stone interview) she won mainstream attention and breakthrough roles, including the lead part in Steven Soderbergh’s movie The Girlfriend Experience.
Sex is not a solo activity, and her partner in this case was not another person but a whole industry. Whatever interests and inclinations she arrived with, only some of them were valuable enough to be encouraged.
***
Sometimes it seems there’s a conspiracy between the people who make porn and the people who don’t actually watch much porn to maintain the fiction of harmlessness. For the former, the idea of porn as a vast and effective subterranean propaganda network is a threat to their bottom line; for the latter, it’s a threat to their sense of security in the world. But the people who use it know otherwise, even if they don’t often admit it publicly.
The horror filmmaker David Cronenberg is not anyone’s idea of an anti-porn feminist, not least because his films are insistently, gruesomely pornographic. My favourite of them is Videodrome from 1982. It’s the story of a cable TV executive called Max Renn, played by James Woods, who is searching for something genuinely hardcore to give his small channel the competitive edge. When he stumbles across a scrambled broadcast called Videodrome which shows highly convincing scenes of women being bound, beaten and killed, he’s transfixed.
As Max tries to learn more about these strange films, he is warned that he’s messing with something dangerous: “It can programme you. It can play you like a video player,” murmurs one of the many shadowy people he meets. It contains coded signals that cause Max to hallucinate and, eventually, to undergo physical changes. In the film’s most disgusting, and brilliant, scene, a vaginal opening develops in Max’s abdomen into which a writhing, pulsating video cassette is inserted by one of the Videodrome operatives.
Whichever way you turn it, the symbolism of this is unambiguous when it comes to the politics of media consumption. You could neutralise it by arguing that it’s a satire on alarmism about the corrupting influence of media, but if the film is satirising anything it seems to be Max’s platitudinous justifications for the sex and violence he traffics in. He talks about “catharsis” and “outlets” and “providing a social good”; he ends up trapped helplessly in fantasies that leach into his real life.
Porn here isn’t just something you watch. It’s something that acts on the viewer, that transforms him in the most literal way. It’s a more sinister vision of what porn does than the one implied by Cronenberg’s contemporary and fellow Canadian Atwood in Handmaid’s; it is nearer by far to the analysis Dworkin puts forward. And, as with Dworkin, it’s born from a frank acquaintance with the complications of his own sexuality and the influences at work on it.
“I’m not Max,” Cronenberg stressed in the book Cronenberg on Cronenberg, but “that isn’t to say I haven’t noticed that I’m attracted to images of sexual violence, and wonder what that means about myself.” Videodrome is, obviously, about the institutional shifts of video and cable TV, not about the then-non-existent internet. But the way Max chances on Videodrome, rather than seeks it out, and the way it’s stripped of all marks of who made it and where it came from, makes it extraordinarily prescient about the way porn sites would reshape consumption.
Now extreme porn is so pervasive that whenever it’s implicated in some terrible crime, the easy way to dismiss the link is to say — well, everyone watches it, so there’s no significance if violent criminals do it too. This is a cop-out. Media does not exert influence absolutely or in the same way on everyone, but we accept that racist media can engender racism and sexist media can engender sexism. Why should an exemption be erected for erections?
“People who say ‘Revolution now’ and aren’t worried by it are foolish,” said Cronenberg (also in Cronenberg on Cronenberg). “The lesson of history — early, middle, late — is that revolution brings with it death, pain, anguish and disease: often nothing positive to replace what was destroyed.” We are two decades now into revolution in media that was also a revolution in sex, and there is no room left for naivety about what that means.
Before Wayne Couzens committed the kidnap, rape and murder of Sarah Everard this year, he watched extreme porn. While the double murderer and mortuary employee David Fuller was committing routine necrophilia against the corpses in his care, he was also recording his offences and adding them to a meticulously maintained library of the most horrific pornography, his trial heard this year.
And regular men choke regular women because they’ve seen it in porn, while regular women accept regular violence as sex, because that’s what they’ve learned to masturbate to. The desire, the fantasy and the act create a self-inciting feedback loop. In what Dworkin called the skinlessness of sex, participants are vulnerable, penetrable.
Whatever your sex is, porn can fuck you.
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