In Feminist Philosophical Quarterly. Read it here.
Abstract
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.
