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- W2504764841 abstract "One of the most paradoxical claims about pornography concerns its narrative “endlessness.” Though few might have put it as radically as Andrea Dworkin when she claimed that pornography constitutes a woman’s use as a thing, acted out in fucking “endlessly repeated” (1979, 23), critics from Adorno to Žižek note the compulsively “ongoing” pornographic narrative (Sontag 1967, 39; Feuer 1994, 558; Žižek 2004b, 292). They do so in spite of the very obvious endings of each pornographic episode. In fact, a pornographic scenario rarely ever ends before having presented the image of the ejaculating penis or, less often, of the ejaculating vulva. In the previous episodes, I have already pointed out several twisted meanings of the money shot. We have learned that the money shot symbolizes the economic value of pornography; is criticized for foregrounding male pleasure; shows the compulsory repetition of the genre; highlights the importance of visibility in pornography; emphasizes the apparatus that “shoots” scenes; is the prominent figure of satisfaction; represents the “real” sex act; can be reversed to an internal shot; and sometimes even takes the “pussy point of view.” What remains to be discussed is the narrative function of the money shot: The money shot is almost always placed at the end of a scene and therefore universally marks its closure. What interests me in this episode, then, is the importance of the money shot (as representation of an orgasm) in the narrative of the pornographic episode, not only because it marks so noticeably the “ending” of an episode, but because it is at the same time conceptualized as refusing an ending." @default.
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- W2504764841 date "2014-01-01" @default.
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- W2504764841 title "A Thousand Little Deaths" @default.
- W2504764841 doi "https://doi.org/10.1057/9781137359384_5" @default.
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