Anti-pornography feminists argue that pornography eroticizes violence against women by focusing on male pleasure and dominance, using visual techniques that objectify female bodies. Alternatively, “pro-pornography” feminists argue that not all pornography uphold male dominance and question whether porn’s explicit style is necessarily “bad” for women. This thesis examines these debates, as well as the connected feminist discourse around penetration, heterosexuality, and S/M, to analyze Bend Over Boyfriend 2 (1999). Written, directed, and produced by feminist sex-activists Shar Rednour and Jackie Strano for the mainstream (heterosexual) market, BOB 2 features male receptive anal sex given by (phallic) women. Although the film’s visual style resembles mainstream pornography, I argue that the film’s plot critiques dominant heterosexual sex scripts and offers new, less restrictive, sexual possibilities for both men and women.
Since such a reading implies that the film can potentially change people’s sexual behaviors and sexual self-images, I deviate from standard textual analysis in order to address this claim. Drawing from social movement theory, I examine the filmmakers’ intentions and outline how viewers and the adult industry have received the film. My specific purpose for blending textual analysis and social movement theory—two very different bodies of knowledge – is to avoid conflating the subversive potential of representations and performances like BOB 2. The “evidence” I present, such as viewer appreciation and industry accolades, suggests that BOB 2 does encourage individuals to change their opinions about “proper” gender roles and sexual scripts. Since the “personal is the political,” this individual change could also indicate social change in our culture’s sexual values.
Suggesting that BOB 2 causes or encourages social change also indicates a large shift in what is considered feminist activism. The film is a product consumed on the marketplace, thus BOB 2’s “subversive” potential occurs within the capitalist patriarchy. Traditionally, feminists have sought methods of activism and change that operate outside of capitalism; therefore, I examine feminism’s relationship to capitalism and suggest that working within the system is not inherently negative. I argue that Rednour and Strano are able to successfully market pro-sex feminist politics through the commercial film.