Forbidden Ballad of Max Hardcore

BALLAD OF MAX HARDCORE (final)

Forbidden Ballad of Max Hardcore

$8.99

Author: Bosch, Anonymous
ISBN: 978-1-925329-10-0
Published: 19/08/2017
Format: PDF
Pages: 52

Product Description

 “The easiest way to separate a girl from her clothing is with a camera.”
(Max Hardcore)

“The standard porn movie is one woman and anything from three and above men.  She often has a penis in her mouth, as she’s being choked, one in her anus, one in her vagina.  And as they\ are pounding away, they are spitting in her face and they are calling her\ “bitch” and “whore” and “cum dumpster.”  This is standard imagery in the industry.  Now, what that does is show that the more you can debase her, the more you can dehumanize her, then the hotter the sex.  And that’s what pornography is about.  Pornography is about debasement and dehumanization.  And the greater her debasement, the hotter the sex for him.”
(Dines, 2014, [ii[)

Dr. Gail Dines’ re-launch of the radical anti-porn feminist movement originated with her analysis of the work of one pornographer in particular, Paul F. Little (aka Max Hardcore). Little created the persona Max Hardcore for a series of hardcore porn releases in the “gonzo” style consisting of sex scenes which tested the physical limits of the female performers and included such acts as rough irrumatio, sodomy, urination and vomiting.  During these scenes, Max Hardcore would verbally abuse and berate the women before ejaculating onto their face or in their mouth.  To Dines this was the worst form of dehumanizing and degrading pornography and she extrapolated her disgust into a condemnation of the entire genre.  This paper examines Dines’ strategies and deconstructs the work of Max Hardcore for a generic perspective on the controversial pornographer and the form known as “gonzo”.  Central to this approach is the performative function of rape fantasies in relation to the socio-cultural construct of female masochism within pornography as a genre: specifically that it is the performative aspect of female rape fantasy enacted in gonzo which necessitates a figurative and symbolic text-based deconstructive approach to pornography in terms of female agency, anathema to Dines’ Marxist class oppression framework.

 

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