‘Mums Make Porn’ is a Channel 4 documentary about a group of mothers who make a short porn film. Emma, the lead on this project, describes mainstream porn as “horrible. Gruesome” and her intention is to create a ‘new wave’ of porn.
The result is a 14-minute film that Emma’s 20-year-old daughter was happy to watch alongside her mum, dad, and grandmother, with her boyfriend and friends in attendance.
There is some acknowledgement of the realities of the porn industry:
“The darker realities of the sex industry are never mentioned – in the first episode of the series at least. Emma says that they met one actress who had performed so much that she was physically injured, and that some of the films she saw were so gruesome she could barely kiss her husband goodnight. There was a point when the group thought that instead of making a porn film they should be campaigning to have it banned. “But that’s a huge step,” Emma says. “We were just four middle-aged hormonal females. But absolutely it needs to be policed. Everyone needs to get involved, from the government to mums and even those working in the porn industry. […] Back home they started to interview potential cast members. The first question was: “What sort of porn do you like to watch?” Most of the actors, Emma says, didn’t like a lot of what they saw, or indeed a lot of what they were doing.”
What is the actual purpose of this 14-minute porno, apart from making a small group of middle-class women feel good about themselves?
Could it work as ‘sex education’? But education in what? If its purpose is to educate about consent, why do you then need to see real sex acts? Does it include stopping and starting again, or giving up for the night? (at 14 minutes, I doubt it.)
Is it supposed to be an education in technique? The mention of male performance anxiety suggests so, but then who gets to set the standard?
Is it commercially viable? Is it going to ‘disrupt’ the porn industry? Of course not. The fact that it is being put up online for free (on Erika Lust’s website – more on her later), suggests that making it commercially viable was not a part of the plan (making it even more a middle-class vanity project, working-class women don’t have the time or resources to make porn for free, instead, they get ‘sex work’ pushed on them as something they ‘need’).
There is no meaningful definition of ‘feminist’ when it comes to porn, only ‘a woman made it’ and/or ‘a woman gets off on it’; which means all porn is ‘feminist’, including the most extreme acts of violence, bestiality, and child sex abuse images, because somewhere there is a woman who will get off to that.
Pandora Blake, a self-styled ‘feminism pornographer’ produces only sado-masochistic porn centred around corporal punishment, and even Emma “is impressed by a couple of fetishists she watches making a naughty little video” while another mother is interested in “’beauty’, ‘tastefulness’ and large penises”, so there is no standard (sex products sold to women always claim higher production values, and always sport a bigger price tag).
The Guardian published an article last year titled ‘The Pleasure Revolution’, some of it was interesting, like the need to correctly describe, and normalise, female genitalia, and sex toys that aren’t objectifying and aimed at men; and some of it was ridiculous, like politics lecturer Reba Maybury, who has a side-gig as ‘political dominatrix’ ‘Mistress Rebecca’, who only dominates white, right-wing men, in order to ‘shift the power balance between the sexes’ (which is laughable, of course, she is being paid by these men for this ‘service’, she is still doing what they want, and outside that BDSM bubble, these men will carry on exactly as before). The article also links to a supposedly ‘feminist’ website, called ‘frolic me’, at the bottom of the website’s front page (click on image to enlarge) is a list of ‘erotic’ films and stories available on the site, including “voyeur catches a couple having a sexy rough fuck’, ‘BDSM erotic story of a submissive girl and her daddy’, and ‘forbidden seduction of a young horny stepson’. There is no meaningful definition of ‘feminist’ porn.
The idea of ‘ethical porn’ is equally meaningless. Mainstream porn uses ‘exit interviews’ (filmed statements where the female porn performers say that they consented to everything that just happened to them); as recent cases of abuse in the US porn industry show, these are faked in order for the woman to get paid, and there are plenty of other accounts of abuse and abusive conditions on porn sets. Any genuine policing of porn sets would make porn production impossible.
The pornographer Erika Lust is name-checked approvingly by the Mums, but this is Gail Dines’ description of one of her porn shoots (from ‘Hot Girls Wanted: Turned On’):
Lust’s rather bizarre idea of a compelling “erotic” movie for women was to portray a woman pianist living out her fantasy of playing the piano naked while being “pleasured.” So Lust finds Monica, a woman who is both a pianist and willing to play out this fantasy, concocted by Lust. The problem is that Monica is new to porn and lacks any experience, while Lust hires a mainstream male porn performer, resulting in the usual degrading porn sex – pounding penetration and hair pulling included. Monica finishes the scene in obvious pain and traumatized, looking like a deer caught in the headlights of an oncoming truck. But remember, this is a “feminist” porn film, so Lust, acting all sisterly, gives Monica a big hug and a glass of water to make her feel better. And then asks her to fake an orgasm for the final scene. So much for authentic female sexuality!
It was stomach churning to watch Lust manipulate and cajole Monica into making this film, and lying through her teeth as she explained that she is doing something different from the boys. Despite all the talk about aesthetic value and women’s sexuality, HGWTO is just a clever piece of ideological propaganda. Lust, just like the boys, is making money from sexually exploiting women; unlike the boys, she wraps herself in a feminist flag as a way to differentiate her brand in a glutted market. In Lust’s world, sisterhood is powerful because it provides cover to pimp out women in the name of feminism.
What projects like ‘Mums Make Porn’ miss is that even ‘better’ porn still objectifies and commodifies sexuality, and also ignores the addictive nature of porn, requiring more, and more extreme, images. It also makes the common, mainstream, assumption that men are simply consuming ‘bad’ porn by mistake, because there isn’t any ‘good’ porn available (a similar apology is made for male sexual violence, that poor men simply don’t understand when they are raping someone). If ‘good’ porn were commercially viable, it would already exist, and higher production value porn already exists.
This porn film will do nothing to challenge the mainstream porn industry, and it is no substitute for compulsory, age-appropriate, sex and relationships education, including education on consent, and the porn industry.