Sexual Objectification Of Female Bodies In Beauty Pageants, Pornography .
KELSEY WRIGHT The College at Brockport, State University of New YorkSexual Objectification of FemaleBodies in Beauty Pageants,Pornography, and Media“All women live in sexual objectification the way fish live in water.”(MacKinnon, 1989)Have you ever watched a beauty pageant contest? What about mainstream pornography? These twocapitalistic industries continue to enforce the misogynistic view that the female body is to be consumed bythe male population. I argue that the societal standards we commonly consider to be the norm affectfemale embodiment and what it means to be a woman in contemporary society. Beauty standards, genderroles, sexualization, objectification, and the male gaze all point towards this ideology that the femalebody is to be consumed by men. I argue we need to abandon these societal standards that control femalebodies and behaviors in a heteropatriarchal world and advocate freedom from the male gaze for allwomen.IntroductionIn an effort to improve the way the female body is viewed, my essay examines the wayspageantry and pornography (porn) uphold the misogynistic view that women are sexualobjects to be consumed by men. Both industries continue to enforce patriarchalDissenting Voices, v. 6, Spring 2017125
ideologies upon members of oursociety. Men are viewed as strong,powerful, and full of intellect, whilewomen are seen as inferior, weak,obedient, and submissive to men. Thesecultural ideologies still exist in thetwenty-first century and continue toreinforce the belief that women exist tobenefit men.My research asks: How does theproduction of beauty tie into violence,objectification, and sexualization of thefemale body within pageantry andpornography? What aspects ofpageantry are reflective or parallel topornography and vice versa? Whatcultural messages do pageantry andpornography relay to the public? Whendo we cross the line of separationbetween selling a product and sellingthe woman’s body? What societalstandards are present in both pageantryand pornography that may put thefemale image at risk in a maledominated society? These are allquestions that I researched by focusingon women’s bodies as my centerpiece,while also seeking to understand howthe media twists the view of women’sbodies.The history of pageantry serves as areminder that women’s bodies arerestricted by the measuring tape andjudge’s approval of their physicality.The evolution of pageantry swimsuitcontests from a one-piece bathing suit,to a two-piece bathing suit, to a bikini isa perfect example of how societycontinues to expose and objectifywomen’s bodies. Will swimsuitcompetitions,astheybecomeincreasingly more revealing, continue toundress women until they are naked?What does nakedness mean in thecontext of beauty pageantry andwomen’s equality?As more of women’s bodies are puton display, women become morevulnerable to society’s judgments.Howard Fremont Stratton (1922) statesthat a pageant was “an evolution ofthought, of history, of aspiration, to setbefore the eyes events of life, andpossibilities of art” (p. 208). Thisstatement could not be more oppositeto how pageantry is viewed today: Thefemale body, as subject, is the mainfocal point rather than the focus of heridentity as a contestant. Pageantry alsoallows viewers to experience theirsexual fantasies in ways that influencethe production of pornography. Peoplewithin a heteropatriarchal society derivepleasure from watching women paradearound in their swimsuits and ballgowns. The “male gaze,” a symbol ofwomen’s exploitation, is evident in howwomen pose onstage and look into theDissenting Voices, v. 6, Spring 2017126
camera (Dow, 2003). It is the seductivelook, the one where the woman looksover her shoulder, which we commonlyassociate with leaning into the “malegaze.” A main focal point for myresearch is the messages pageantry andpornography broadcast to the publicregarding female embodiment and inturn, how women are viewed by society.Literature ReviewMy research focuses on the similaritiesand parallels between pageantry andheteropatriarchal pornography. I defineheteropatriarchy as the norm of beingin a male-dominated and heterosexualsociety (Castree, Kitchin, & Rogers,2016). Capitalism is profound withinboth industries that use the female bodyfor profit, whether it is through anational pageant competition aired ontelevision or the consumption ofpornography.Mainstream heteropatriarchal pornography, particularlybetween heterosexual cisgender 10 menand cisgender women, is gearedtowards providing male sexual pleasure.Erotic advertisements (see Figure 1),images in pornographic magazines,such as Playboy, and erotic filmsportray women porn actresses assubservient to the dominant male actor.I analyzethepageant andpornography industries through aradical feminist lens. Radical feministswant to achieve liberation throughdisrupting patriarchy (Tong, 2014). Thisframework focuses on the sex andgender oppressions of women. Thesaying “the personal is political” refersto the theory that women’s experiencesand problems are the result of manypolitical and societal oppressions(Hanisch, 1969). This 1960s and 1970sphrase was used as a rally cry byfeminists to declare the issues thataffected women’s personal lives such ashousehold work, childcare, equality inthe workplace, sex, abortion, andappearance (Hanisch, 1969).Radical feminist theory states that weneed to dismantle the patriarchy so thatwomen are not oppressed by society’s“Cisgender” or “cis” is defined as anindividual’s biological sex aligning withtheir gender identity (Serano, 2007).10Dissenting Voices, v. 6, Spring 2017127
standards of men being superior. Manyradical theorists believe that capitalismdeems sexuality as a discursion ofpower (Tong, 2014). Tong discussesthat radicals strive to get to the root ofsexism in society and believe that thereis nothing salvageable in the patriarchalsexist world we live in.There are two branches in radicalfeminist thought: Radical libertarian andradical cultural. The radical libertarianphilosophy is sex positive, wantsequality for all gender identities, andsees pornography and sex work aspotentially empowering (Millet, 1969;Firestone, 1971). The radical culturalphilosophy is female-centered (withoutmale influence), where sex work is seenas oppressive and is anti-pornography(Daly, 1978).Mary Daly, a radical cultural feminist,wants to replace androgyny with whatshe calls the “wild female” (1978), awoman who is beyond masculine andfeminine roles. Daly rejects the terms ofmasculinity and femininity as productsof patriarchy and she tells women thatthey must remain radically apart frommen. She, along with many other radicalthinkers and legal scholars, likeMacKinnon (1989), wanted an end topatriarchy and its’ sexual oppressions(Dworkin, 1981). Radical culturalthinkers, such as Andrea Dworkin(1981), use MacKinnon’s legal writingson sexual harassment. Women are usedas objects and entities in much of theporn industry and are subjugated toviolent pleasures and coercions (Dines,Jensen, & Russo, 1998). Dworkin(1987) states that men invade andoccupy women’s bodies duringheterosexual acts, while on the otherhand, MacKinnon believes that womenin patriarchal societies cannot consentto heterosexual sex.Withinmostheterosexualpornographic content, you typically seethe woman in a submissive rolecompared to her male partner. Powerdynamics play a huge role in theobjectification of women’s bodiesbecause men are seen as superior. Thedominant and submissive roles betweentwo consenting partners embrace thepowerful-versus-powerless theme seeninmainstreamheteropatriarchalpornography. Radical libertarians mayview the powerful-versus-powerlessroles as empowering for theparticipating women (Tong, 2014).Radical cultural feminists, on the otherhand, see pornography as oppressivebecause male dominance is still rootedin the industry (Tong, 2014). CarolynBronstein (2011) states that antipornography feminists believe womenwho participate in power-versus-Dissenting Voices, v. 6, Spring 2017128
powerlessness sexual behaviors areencouragingfemalesexualobjectification, male domination, andfemale submissiveness.Violence towards women can also beseen within Gonzo porn, which isrooted in sexual violence (Dines, 2010).Women in Gonzo porn are violated byenforced gagging, vomiting, or vaginal,oral, and anal penetration all at thesame time (Dines, 2010). These actsdehumanize women into instrumentsused for pleasure. MacKinnon (1989)states, men want “women sexuallyaccessible, have-able, there for them,wanting to be taken and used, withperhaps just a little light bondage” (p.327). MacKinnon says that any kind ofpornographic image is sexualizedviolence. Her work is not talking aboutGonzo porn specifically, but ratherhelps explain the objectification that wesee in advertisements like Dolce &Gabbana plastered across billboardsand television screens that marginalizewomen.The pageant industry is associatedwith a male-centered or patriarchalinstitution of mass media that uses sexand gender oppressions against women.We see this through television showssuch as Toddlers & Tiaras and the MissAmerica Pageant, streamed live everyyear. Most women are told that they canonly act, dress, and talk in a feminineway. This is where gender comes intoplay because pageantry is the idealfeminine lifestyle a woman can pursue.It embraces all three of the ways inwhich women must perform. Somepageants emphasize fake hair, makeup,skimpy clothing, and thin body asexamples of how women presentthemselves to society within thisbusiness. Women should not have todress provocatively in order to getattention!I blame our patriarchal society thatfocuses on objectifying women’ssexuality for the purpose of capitalismand the benefit of men. We see thiswhen women model in pageants tocompete in the beauty industry whilemen are told to be breadwinners andcompete intellectually in the workforce.We can also see how capitalism benefitsfrom women being submissive inrelation to porn films through theamount of profit the Unites Statespornography industry generates, whichranges from 4 to 7 billion dollars eachyear (Dines, Jensen, & Russo, 1998).This profit largely privileges white malepower. MacKinnon (1989) states thateven if women own and agreeablyparticipate in pornography, it is stillrooted in patriarchy.Dissenting Voices, v. 6, Spring 2017129
Popular industries of pageantry andmainstream pornography have controlover what cultural misogynisticmessages they produce. By viewingsocietal influences through a patriarchallens, we can see the pressures thatwomen conform to or abide by in orderto fit in our male-dominated society.Such factors include the standards ofbeauty, gender roles (Ferree & Wade,2015), the “male gaze,” sexualization,objectification, and male pleasure. Inext explain how these factors existwithin both pageants and pornographyand how the female body is used forprofit.The link between pornography andviolence is what many feminists want topublicize. The subordinating pornpractices lead to inequality amonggenders, classes, races and sexualities inour society (Dines, Jensen, & Russo,1998). In my research, I identify theterm “violence” to mean negative viewsand criticisms of the female body as aresult of following societal standards.Pertaining to films and porn images(advertisements) serving as a form ofpatriarchy and sex and genderoppression towards women, women areseen as submissive to men. Mostpornography between a cisgender manand a cisgender woman deems womenas the objects men must acquire inorder to reach full satisfaction orpleasure because most pornography isproduced by men, bought by men, usedby men, and made primarily for thebenefit of men (Dines, Jensen, &Russo, 1998). According to RobertJensen (1998), ignoring what privilegemeans is the ultimate privilege. Men areignorant to their superiority in society;therefore, in porn, men have acompulsion to dominate women.Carolyn Bronstein (2011) describesthe anti-pornography movement and itsfocus on the oppression women feltunder male sexual power. During the1976 to 1986 anti-pornographymovement, radical libertarian pro-sexfeminism focused on sexual freedomfor women by encouraging them todiscuss pleasure, sexual desires, and lust(Bronstein, 2011). The BarnardConference of 1982 provided theopportunity for pro-sex women to talkabout their theory and voice theiropinions on a national scale, but it alsocaused uproar by the anti-pornographyfeminists who were not invited to theconference (Bronstein, 2011). Antipornography feminists protested theDiary, a booklet representing theconference proceedings, and they stoodoutside the conference locationdistributing their own pamphlets,claimingtheconferenceonlyDissenting Voices, v. 6, Spring 2017130
represented a portion of the feministviews on sexuality (Bronstein, 2011).This conference started the “sex wars”,the divide between sex positive andanti-sex women of the 1980s, but it alsoopened up the discussion on femalesexuality and challenged the antipornography debate on sexuality,making it more complex (Bronstein,2011). The history of radical libertariansand radical cultural feminists influencethe ways pornography is viewed incontemporary society.There are social pressures thatwomen endure relating to theperfection of body image. Many womenare conditioned to not recognize thesocietal pressures that are enforcedupon them. For example, if a woman isoverweight, she is fat-shamed anddeemed unattractive and unacceptablein society. Capitalism plays a part in fatshaming because women will buymakeup, surgically alter their bodies,and change their physical appearancesto be seen as attractive. We should notbe putting restrictions on bodies. Eachindividual should be accepted for whothey are, not how they look. Societyneeds to be aware of how women areaffected within the capitalistic industriesof pageantry and pornography thatprofit off of female embodiment.Feminist research recognizes thepageantry or pornography aspect ofmass media (Bronstein, 2011; Dworkin,1981).Manyfeministscholarscontinually express their dislike with theuse of female bodies as sexualizedobjects in ways that benefit men’sdesires (Hester, 2014; MacKinnon,1989; Valenti, 2016). Patriarchal viewsaffect women’s body image and thefuture of female sexuality (Dines,Jensen, Russo, 1998; Valenti, 2016).The messages regarding the femalebody and experience, particularly as anentity for men, ultimately provideinsight into if and how such portrayalsmay serve as an oppressing force toyounggirlsandwomenincontemporary culture.Mirror, Mirror, on the WallAs a woman in twenty-first centurysociety, I am subjected to the waysyoung girls and women are expected toact, talk, look, and so on. According toJessica Valenti (2008),We see images of unattainable beautynorms everywhere -- in magazines,television, advertisements, movies, youname it. All touting the same image ofwhat’s supposed to be an attractivewoman: white, thin, blond (usually), bigboobs, the whole package (p. 30).Dissenting Voices, v. 6, Spring 2017131
Beauty standards make young girlsand women think they must conform tocharacteristics of whiteness, thinness,and attractiveness. Women areconstantly told that they have to be thinbut also have curves with a big bust.Beauty expectations have. . . become so normalized! Oh, don’t likeyour tits? Shove some new ones in there!Hate your nose? Cut it off. Feelingchubby? Suck that fat out! You don’tactually want that vagina, do you? Trimtrim (Valenti, 2007, p. 211).Women have to stop hating theirbodies, because if they do, it will be arevolutionary act in itself (Valenti,2007).Womeninpornographyandpageantry are thin; they are taking upless space. This represents less power,agency, and voice. The way weunderstand beauty is racialized in theways that beauty is ascribed tomiddle/upper class white women, andhow capitalism then markets andreproduces this beauty to the whitefemale population. Images of beautyfocus on the ideal woman as havinglight skin. This affects what womenand society perceive to be “beautiful”.What is the true definition of beautyanyway? The representation of what itmeans to be “beautiful” evolves associety progresses. The history ofpageantry serves as a reminder thatwomen’s bodies are restricted by themeasuring tape and the judge’s approvalof their physicality. Although there arecompetitions based on other forms oftalent, the overarching message is thefemale body being judged on physicallooks. According to young boys, thereare six different types of “girl”: Thecute girl, the pretty girl, the hot girl, thesexy girl, the fat girl, and the ugly girl(Valenti, 2016). After I read thisstatement in Valenti’s Sex Object: AMemoir (2016), I found myself askingthe question: Who/what determines if agirl is considered “ugly?” My answer:Society, patriarchy, and capitalism.Withinbothpageantryandpornography there are set standardsthat women have to meet in order evento be considered a possible participant.Some examples may include beingwhite, having a thin waistline, andpreforming heterosexuality. Thesecharacteristics represent the “ideal”woman, which has been the pattern fordecades.Women should be taught to valuetheir intelligence, abilities, etc., insteadof just valuing themselves for lookinghot in a bikini and making themselvesavailable to men (Valenti, 2007). Inmost pageants, women are valued fortheir beauty and physical appearancesDissenting Voices, v. 6, Spring 2017132
above all else, while the malepopulation watches on and “gazes” atthe exposed female bodies. It is notvery often that we see heavier womentaking part in a mainstream porn film orbeing plastered across Playboy magazine.While you can see that pageantryenforces beauty standards upon thecontestants very clearly, pornographydoes the same with actresses who takepart in sexual acts. Heteropatriarchalpornography industries focus on theuse of heterosexual intercourse toachieve male pleasure at the expense offemale sexuality (O’Callaghan, 2017).Female bodies are utilized for profitwithin the advertising industry,plastering their bodies in advertisementsin a sexual way to draw in consumers.Rebecca Coleman (2008) points outthat bodies are not separate from themedia, but rather, are understoodthrough the images displayed to itsaudience. In other words, consumersunderstand and experience femalebodies through the advertisementsportrayedtothem.Manyadvertisements can be seen as erotic orpornographic to the young adult eye.Some examples include Dolce &Gabbana, Suit Supply, Tom Ford, andother similar fashion brands sold towomen (see Figures 1-10). My researchFigure 2: Tom Ford. From "ControversialCampaigns: 9 Banned NSFW Fashion AdsYou Probably Shouldn't See," by M.Stempien, /tom-ford-for-men-2.html) In thepublic domain.Figure 3. American Apparel. From "Rapeculture," by the Center for RelationshipAbuse Awareness, e/). In the public domain.Dissenting Voices, v. 6, Spring 2017133
Figure 4: Axe. From "Rage against themedia, not against ourselves," by V.Rodriguez, -against-media-not-againstourselves.html). In the public domain.Figure 5. Budweiser. From "ObjectifyingWomen in Beer Advertisements," by Timaliand Haya, 01/objectifying-women-in-beeradvertisements/ ). In the public domain.Figure 6. Calvin Klein. From "Sexual assaultcounselor asks: Why is it OK to use sexualviolence as a marketing tool?" by M.Tankard Reist, e-as-a-marketing-tool/). In thepublic domain.Figure 7. Kit Kat. From "I don't believe thisis an official Kit Kat ad (nsfw-ish)," by M.Copyranter, -this-is-official-kit-kat.html). In thepublic domain.Dissenting Voices, v. 6, Spring 2017134
Figure 8. BMW. From "An 'Easy' Ride," byoctobersveryown, 2016(newsactivist.com/fr/node/11508). In thepublic domain.is interested in whether theseadvertisements serve as a form ofpornography while also relating topageantry in the way advertisers use thefemale body. The majority of theadvertisements I look at portray whitewomen who display the thinness ideal.The women have to perform “sexy” inorder to sell the product being shown inFigure 9. Suit Supply. From "Suit Supplyshameless ad campaign: Distracting," by G.Hudson , November 1, 2010 -supply-shameless-ad-campaign.html).In the public domain.Figure 10. Gucci. From"Fashion Ego," byFiona, n-ego/ ). In the public domain.the advertisements, and they serve astools to bring in capital for the industry.Although some pageant contestantsand onstage performers may experiencea boost in self-confidence when theycompete, they are still viewed as a“beauty” onstage. Young girls andwomen are highly judged whenperforming onstage and it impacts theirconfidence in themselves and theirbodies in negative ways. The portrayalof unattainable media images of womencontributes to low self-esteem in younggirls and women (Coleman, 2008).Coleman - states that the media servesas a guidebook or a manual on theacceptable appearance of a modern-daywoman. Media, whether it is a pageantcontest aired on television, an eroticadvertisement, or a pornographic film,portrays the acceptable female body.Dissenting Voices, v. 6, Spring 2017135
Any other bodies are deemed ugly,unacceptable, or are shamed and do notfit into society.It is important to note that manywomen competitors in pageantry have apositive experience when competing.Some compete in family ownedpageants that are more value based,meaning family oriented and focusingon who the contestants are as a personor viewing pageantry as a lifestyle.Competing may give some young girlsand women confidence, but at the sametime, they are told what to do and howto look. Even though some pageantcontestants may like to compete, Iexamine how they might be unaware ofwhat messages the industry produces tothe audience in regards to their bodies.I am not criticizing girls and womenwho compete, but rather, the industry’spurpose for presenting the contestantsin sexual ways. Women in pornographyare told how to dress and do their hairand makeup based on what trends andstyles are popular during that time. Thisnot only impacts women’s self-image,but it also continues to bolstercapitalism. Women will also comparetheir physicality to other women inorder to achieve a better image. The ageof the contestants is also veryimportant. Miss America contestantshave to be in the age range ofapproximately seventeen to twenty-fouryears. This enforces young femininity inthe industry and contributes to theimage of ideal beauty as young andvulnerable.Undress Me with Your EyesOne of the most important aspects toaddress in a patriarchal society is the“male gaze.” Bonnie J. Dow (2003)identifies the male gaze as a societalfactor in which women want to be seenas acceptable through the eyes of men.If they are deemed unacceptablebecause they do not exemplify the idealversion of female embodiment, thenthey are outside standards. Performingonstage or onscreen is a perfectexample of being in a place where yourbody is judged by outside viewers.Pageantry, an industry largely focusedon swimsuit contests, is a great exampleof the male gaze when women pose atthe end of the runway and look overtheir shoulder into the camera. Thislook over the shoulder is symbolic ofthe male gaze definition and iscommonly done so in a sexual manner.My question is: Will the pageantscontinue to undress female pageantcontestants until they are naked? Thiscould happen in the future. We seeimages of naked women everywhere,without their genitals or nipplesDissenting Voices, v. 6, Spring 2017136
showing, so the next step would be toshow these areas. If this did happen, Ibelieve that the meaning of the malegaze would be more focused on femalegenitalia and breasts, due to theexposure to the audience. This couldput female contestants more at risk ofbeing marginalized and sexualized, andopportunities to be anything else wouldbe restricted, as they would berepresenting a pornographic image.Many women in our society today donot find erotic advertisements to beappealing. Actually, they find them tobe hurtful to their identities as women(Douglas, 1995; Kilbourne, 1999). Themodels in the advertisements are beingportrayed as sexual by nature anddepicted as sex objects used to sellproducts. Why do women have to besexualized in order to sell a product?The reason: Sex sells. The Tom Fordimage (Figure 2) of the naked womanhiding her vagina behind a bottle ofmen’s cologne and holding anotherbottle of cologne between her breasts,is too revealing and unnecessary, and itcould potentially be seen as borderlinepornography. What message does thisimage imply to the public? Women areto be viewed only by men, and thisadvertisement portrays this with thewoman having her legs wide open withan erotic expression on her face. To me,this advertisement is saying, “Take me!”It is being marketed to men and impliesthat if men buy this cologne, womenwill come running to them, wanting tohave sex. If advertisements like this arebeing publicly displayed for all to see,how is this helping or changing the waysociety looks at women’s bodies?I did some extra digging and foundthat images of male genitalia is not asFigure 11. Hugo Boss Bodywear. From"Alex Lundqvist Fronts Hugo Boss'Spring/Summer 2013 BodywearCampaign," by Davide, hugo-boss-springsummer-2013bodywear-campaign/). In the publicdomain.Dissenting Voices, v. 6, Spring 2017137
highly exposed to viewers as comparedto female genitalia. In mainstreammedia, the male genitalia is covered byan object or not fully exposed, unlikethe Tom Ford advertisement that justbarely covers the woman’s vagina andbreasts. In many advertisements withmen scantily clothed (only boxersworn), women are usually present andeven more undressed and sexualized(Figure 11). The media continues toproduce the message that women’sbodies are for the consumption andtouch of men, which upholds themisogynistic view that women are formen only.Girls as young as five, such as thegirls on the television reality seriesToddlers & Tiaras, worry about theirphysical appearance and how to actsexy (Palmer, 2013). Again, there is thatmale gaze factor playing into how ayoung girl has to act in order to attract aman’s attention. A five-year-old shouldnot be worrying about how to act in asexual manner in order to grab theattention of the audience. For example,“A two-year-old named Ava is told tomime taking off her clothes and to‘shaky shaky’ by her father while onstage” (Palmer, 2013, p. 133). Thereality television show makes younggirls look older (see Figure 12), while inpornography the women look younger.Figure 12. Toddler's & Tiaras. From "TLC'sToddler's and Tiara's: Way Too Much orJust Enough?," by C. Parish, ddlers-and-tiaras-way-too-much.html).In the public domain.Both industries, in different ways,enforce the young-woman-in-hertwenties look.Toddlers & Tiaras is negatively impacting the way society views youngfemale bodies and could possibly leadto an increase in child pedophilia.Christine Tamer (2011) supports thisargument, writing,Dissenting Voices, v. 6, Spring 2017138
A government official in Thailandrecently ordered the removal of theswimsuit category from a child beautypageant because such a ‘contest could stirsexual fantasies in some audiencemembers while others might be temptedto have sex with a child prostitute’ (p.87).She explains that many countriesoutside the United States fear Americanchild pageants and the “glitz” factor(Tamer, 2011). The girls who participatein the reality television show Toddlers &Tiaras believe that when they have theirphysical appearances altered orchanged, they become more “beautiful”and valuable to the audience (Palmer,2013). The male gaze supportspatriarchal capitalism because societyprofits from young girls’ and women’sinterests in wanting to look beautiful oracceptable in the eyes of the judge andaudience.Male PleasureSexualization and objectification aretwo major concepts to consider whendiscussing the patriarchal lens throughwhich women are viewed. Sexualizationis making something sexual in nature orcharacter. For example, women aresexualized because of their bodies;typically, their breasts and vaginas arethe focal points. Objectification issimilar but this deems someone orsomething as an object. There has beenresearch reported on the history ofbathing suit competitions in pageantry.Scholars Howard F. Stratton (1992) andDavid Glassberg (1990) studied bathingsuits in pageantry and how they startedfrom a one-piece and over decadesevolved into a bikini. Society continuesto expose female bodies for capital.Addressing the nakedness concernabout pageant contestants, what wouldnakedness mean in the context ofbeauty pageantry and women’s equality?Pageantry and pornography allowmen in the audience to experiencesexual fantasies, whether it be watchingToddlers & Tiaras on television, MissAmerica live in person, or an adult filmat home. Men can start to blur realityand fantasy as a result of pornography.For example, a man is having sex with awoman while fantasizing about anotherwoman in a pornographic film that hewatched earlier (Dines, Jensen, &Russo, 1998). Some men even watchpornography while performing thesame act on the woman they are havingsex with (Dines, Jensen, & Russo,1998). Can men get erections just byviewing pageantry? I absolutely thinkthey can. Valenti (2016) stated that inher own encounters she has noticedmen taking pictures of a woman’s bareback when it is exposed to use later fo
and cisgender women, is geared towards providing male sexual pleasure. Erotic advertisements (see igure 1), F images in pornographic magazines, such as Playboy, and erotic films . 10 "Cisgender" or "cis" is defined as an individual's biological sex aligning with their gender identity (Serano, 2007). portray women porn actresses as
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coerced sexual acts—sexual activity that involved touching or penetrating of sexual body parts 0.5% of youth who reported being forced or coerced into other sexual activity with another youth that did not meet the description of forced or coerced sexual acts, such as kissing on the mouth, looking at private
The University of Michigan5 defines sexual harassment as unwelcome sexual advances, requests for sexual favors, and other . talking about one's sexual activity in front of others and displaying or distributing sexually explicit drawings, pictures and/or written material. Unwanted sexual statements can be made in person, in writing .
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