Third Year BA(Hons) Photography Dissertation.
- william vennard
- Jan 28, 2019
- 20 min read
How has pornography evolved and changed throughout history and what is its significance in the modern day?.
Student Name : William Keith Vennard
Student Number : 1605319
Module : AAD6003 Research in Context
Contents
Chapter One : History
Section i : The Venus of Willendorf
Section ii : Early Egypt & The Papyrus Turin 55001
Section iii : The Rediscovery of Pompeii & The Secret Museum
Chapter Two : The Photograph
Section i : The Daguerreotype & Pornographic Evolution
Section ii : Pornographic Magazines
Chapter Three : Modern Pornography
Section i : Amateur vs Professional
Section ii – Conclusion
Reference List
Section i : Books
Section ii : Journals
Section iii : Websites
Section iv : Plate List
Pornography :
Printed or visual material containing the explicit description or display of sexual organs or activity, intended to stimulate sexual excitement.
Oxford Dictionary
In this Study we will be exploring the history of pornography, from the earliest discovery of erotic material in 20,000bc to the modern day pornographic photographs and videos, we will be contrasting and comparing the cultural differences and views on pornography through the years including the ancient Egyptians, Pompeians and Victorians; finally we will discuss how the photograph revolutionised pornography and led to modern pornography as we view it today.
The overall objective of this study is to discuss the historical vs modern significance of pornography and how it inevitably evolved and changed throughout history and also the reasons why.
Chapter One : History
Section i : The Venus of Willendorf
In 1908 an Austro-Hungarian archaeologist named Josef Szombathy discovered an approx. 4½ inch tall artefact just outside of the small Austrian village of Willendorf, this petite limestone figurine dates back to roughly between 24,000 and 20,000 B.C.E (Zygmont, 2015). Art historians who studied the Venus of Willendorf noted that ‘the most conspicuous elements of her anatomy are those that deal with the process of reproduction and child rearing’ further they suggest that ‘the artist took particular care to emphasise her breasts which [ed] indicates that she is able to nurse a child’. (Zygmont, 2015)
As we can observe, the Venus of Willendorf’s face is obscured by seven horizontal bands that wrap in concentric circles from the crown of the head, this results in the lack of features such as eyes, nose, ears and mouth. If the face is intentionally obscured (as many scholars agree) then the sculptor may not have created a representation of a particular person but in fact ‘a representation of the reproductive and child rearing aspects of a woman’ as Dr. Bryan Zygmont (Zygmont, 2015) suggests, it seems likely that the Venus of Willendorf represented fertility, this is further concluded by the artefact’s size of 4½ inches which suggests whoever carved (or perhaps owned) this figurine was able to carry it during daily nomadic travels.
Through the connotations of the sculpture, namely the voluptuous nature of the breasts and emphasis on the vagina, we can conclude that the Venus of Willendorf is (in some respects) a sexualised representation of the female form, many believe that this is one of the earliest discoveries of art displaying sexual representation.
Section ii : Early Egypt & The Papyrus Turin 55001
Approximately in the year 1820 a Papyrus was discovered in Egypt, the contents of which was so shocking and controversial that it remained hidden in the hands of Art Historians until the 1970s when the studies and research were finally made public.
This Papyrus became known as The Papyrus Turin 55001, it consists of two pieces of Papyrus which lay side by side to create a full image, the left side or “The Erotic Side” is made up of twelve scenes of an explicit nature whereas the right side or “The Animal Side” portrays animals carrying out a variety of human activities, The Papyrus Turin 55001 is a mixture of Satirical Comedy and Eroticism.
Professor Alan Lloyd concludes that The Papyrus Turin could be the ancient equivalent of a men’s pornographic magazine, based on studies of the Papyrus and evidence collected he stated that “the artist is representing sexuality with enormous enthusiasm and with lots of salacious detail, […] I very much like the idea that this is a kind of precursor of playboy”. (Youtube, 2017)
It may never be determined who exactly made The Papyrus Turin or for what purpose, however it is highly regarded by several scholars (such as the aforementioned Professor Alan Lloyd) as one of the most important artefacts of antiquity, this is because for the first time academics and experts (or in fact members of the general public) were able to decode “Real” Egyptian sexuality, through this Papyrus we can observe how the ancient Egyptians had sex, what they may have enjoyed but also what was considered more risqué in their sexual culture.
It has been suggested by Dr. Abdalla that the men depicted in the Papyrus are in fact slaves, he proposes that “the men are foreign workers who have come to Egypt as slaves or prisoners. This also explains why they do not wear jewellery, but the simple Dreiecktuch” further he continues that “They have a hairstyle where the smooth hair fringe circumscribes the ear in an arc and leaves it uncovered, […] this type of hairline also appears in the depictions of the Cushites [ed] which were brought to Egypt as prisoners of war” (Abdalla, 2013), this could in fact suggest that the Egyptians used prisoners of war as sexual slaves, or the more likely (and the conclusion Dr. Abdalla arrived at), the painter could have created the Papyrus Turin to make other men (slaves) happy, because the nudity of women would have awoken the desire of men. (Abdalla, 2013)
Section iii : The Rediscovery of Pompeii & The Secret Museum
In 79 A.D, Mount Vesuvius erupted and buried the Roman city of Pompeii beneath tons of volcanic ash and debris, as a result everything from the buildings and art to the artefacts and bodies were perpetually frozen in time, however, when Pompeii was rediscovered in 1748 A.D by the Spanish military engineer; Rocque Joaquin de Alcubierre, what was found shook the very foundations of academic study in a way that is still felt to this day, Bailey suggests that;
As excavators dug deeper into Pompeii they began feeling tremors of unease, as each new villa was uncovered this unease turned to anxiety and anxiety into panic, this noble ancient world they were exposing was one in which, in their eyes, was contaminated at every turn by the obscene.
Fenton Bailey (2016)
Among the first artefacts excavated from the ruins of Pompeii was a marble statue, it depicted the Roman god; Pan, in explicit sexual intercourse with a goat, the sight of this statue provoked both horror and fascination, the excavators panicked response to this discovery began a process that would ultimately culminate in the legal prohibition of sexually explicit material which we today describe as Pornography.
With the rediscovery of Pompeii it became impossible to avoid the fact that images of people copulating could be seen displayed in rooms and covering painted walls of villas, bath houses and many more places throughout the city, this caused immense trouble for the people who discovered all this imagery, according to Dr. Simon Goldhill “the whole of Europe traced its own roots in different ways back to classical culture, so the discovery of Pompeii and its obscenity was a threat, not only to peoples idea of the ancient world, but to the very idea of who they were”(Goldhill, 2014).
In the beginning the discovery of the explicit artworks was denied, however when it became quite impossible to deny it had to be somehow locked away, because the work was so historically unique it couldn’t be destroyed, but on the other hand because of the implications and explicit nature of the work, it could not be displayed either.
The historians came to the conclusion that they would classify the work within a museum, the rooms containing the obscene paintings in Pompeii were bared and bolted, whereas all moveable artefacts (such as Pan and the Goat) were moved to a secret room within the Museo Borbonico, Naples where it was stored under lock and key, this room later became known as The Secret Museum or The Secret Cabinet, a term coined by author Michael Grant in his book; Eros in Pompeii: The Secret Rooms of the National Museum of Naples.
After the [ed.] restoration in 1815 they were among the works in the new museum opened in the grounds of the royal palace at Portici on the outskirts of Naples. But when the Duke of Calabria, the future Francis the first, took his wife and young daughter to see the collection, he was shocked by what was put before the ladies' eyes and decided that henceforth the objects considered obscene would be kept under lock […] where only privileged persons were to be admitted.
Anonymous (N.D)
When the Victorians observed the erotic wall art of Pompeii they made the assumption that they were masturbated over in private, however the Roman household was an open and public space, they didn’t even have a word for privacy, therefore without the notion of privacy the concept of pornography would have been incomprehensible, only when the concept of privacy exists can pornography become possible. Professor John Clarke suggests, “the last thing in the world that would have occurred to a Roman looking at one of these pictures in one of these rooms would be to masturbate, that was a waste of a good thing, One would actually want to have sex, that would have been more stimulating and more fun” he continues to explain that;
These are images that are meant to give you a sense of life’s pleasures, and excavators found them everywhere, they found them in plain view in public areas of the house, […] sometimes they found them in dinning suites, what it shows is that people where proud of them, they wanted to show them to people who came to see them in their houses
Clarke (2014)
Chapter Two : The Photograph
Section i : The Daguerreotype & Pornographic Evolution
The advent of photography had a greater impact on sexually explicit imagery than any other medium in history, this is because for the first time the viewer was able to observe a ‘Real’ person, not a fictional representation of a person, for some that added to the thrill of consuming pornography whereas for others it became the greatest indecency of it. Viewing pornography became both real and illusionary and the tension between the two was at the core of pornography’s power.
In Paris, France in the year 1839, Louis Daguerre introduced the worlds first photographic process in the shape of the Daguerreotype which changed the face of pornography, the camera possessed the ability to ‘see with the naked eye’, the images produced in the beginning presented scenarios such as women sitting in chairs in an explicit position not striking any particularly artful poses (Fig 5), which instilled a sensation of realism like no other art medium before it, that is very much what the Daguerreotype represented, the un-artful, the un-calculated, the un-structured, this is what made the images feel that much more real upon viewing.
Before the invention of photography, sexual activity was depicted in drawings, paintings and sculptures as a sexual activity between two or more participants, however the first cameras required exposure times of several seconds, so action was impossible to capture, early photography had to include poses that could be sustained for the length of the required exposure time, therefore a woman displaying her genitals to the camera became a very familiar image, which persists to the present day.
The female nude was a traditional figure in fine art, in France, the ‘Academie’ as it was known, was a nude study made by painters to help them perfect their depiction of the human form. before being able to make a painting available for public sale in France it first had to be registered with the French government who could reject an image if they deemed it indecent. with the invention of photography came the first photographic ‘Academie’, this meant that for a few francs a painter could save on the expense of hiring a live model and work from a photograph, however, the realism of the new medium meant there were crucial differences from the ‘Academie’ of the fine art tradition; for example, a traditional painter would take several models and produce sketches, then from those sketches they would produce an idealised sexualised figure using the most beautiful/desirable aspects of each model, this however becomes impossible in photography.
Art historian Anne McCauley suggests that “you could not idealise in photography, no matter how attractive a model you found, she was never going to be like a painter’s model, an academic painter would typically combine the most beautiful parts of fifteen different bodies to give you the most beautiful ideal form, a photographer could never find that form, no matter how well a photographer could stage the model” (McCauley, 2014). even if a photographer somehow managed to find an idealised female model it would be almost impossible to capture the elegant poses of renaissance painters of Italy or the nude artists of France due to the primitive photographic technique of the time, models would have to hold poses for several minutes to create an accurate exposure and it was just simply impossible to hold elegant or elaborate poses for long stretches of time, Anne McCauley continues “These models couldn’t hold the poses so the awkwardness was built into photographic medium, and I think that’s why the Photographic ‘Academie’ always had a pornographic edge because there was a kind of rawness and ugliness to the real lived female body, and it was an incredible shock to people to see these bodies” (McCauley, 2014).
In 1857 the Victorians launched an official campaign against obscenity, the Obscene Publications Act (1857) which banned the sale of pornographic works was passed by parliament, the intervention of the state against sexual imagery was one of the most dramatic and far reaching undertakings of the century, it inevitably shifted the focus from sex itself and created a legal structure around the act of looking at sex that still exists to this day, which effectively criminalised sexual photography while it was still in its infancy.
Due to the prohibition on sexually explicit material beginning to take hold, and the French government actively denying any imagery they deemed ‘Indecent’ from reaching the public, secretive production and distribution of explicit daguerreotypes (at this point named Pornography) began. The images however were incredibly expensive, in the early 1850s sexual images where known to cost a Parisian worker “a weeks salary” (The Book of Life, n.d.), however after the Obscene Publications Act passed in 1857, and the work was driven underground, the photographic process evolved from metal plates to glass plate negatives, this essentially made photography cheaper and images mass producible on photographic paper, this inevitably lead to the price of pornography being reduced and it became somewhat affordable, and subsequently the trade grew exponentially.
It’s interesting to think that the photograph of an erotic scenario was in fact more expensive than having the erotic scenario, the cost of a low-class prostitute…you could sleep with a woman for five francs in Paris, the photographs are serving a slightly different purpose than the brothel visit, they are allowing a kind of repeat performance of a particular fantasy of the viewer in a way that perhaps the real experience didn’t.
Anne McCauley (2014)
During the 1860s there was estimated to be over four hundred shops illegally selling Pornographic images in Paris, images “were available in packs of five” and sold by women who kept them under their dresses, the women (who were often prostitutes) would wait for wealthy gentlemen in all the big train stations, and would offer a variety of different packs, for example; a heterosexual pack would often contain “a selection of nude poses, some cunnilingus, some anal sex and some light bondage”, whereas a homosexual pack would contain fellatio (Fig 7), masturbation and anal sex.
The images where often somewhat lacklustre, because the majority of people producing these images were from the working class, the only knowledge they had of Art was also from the working class, therefore the images tended to not be particularly elegant nor particularly tasteful (which can be seen in the previously mentioned Fig 7 image). A Frenchman could potentially pick up a photographic manual, study for two weeks, buy a camera and set himself up in a studio if he had the appropriate capital. Eventually the Pornographic market in France went underground completely, Photographers found that it became difficult to pass off a Hardcore Photograph as an ‘Academie’, by 1855 there were no more photographic ‘Academie’ being registered with the French government.
By the late 19th century, two things had happened; the first was that the photographs being produced became more ‘Professional’ as we know them today, the lighting was smoother, the models where more elegantly posed and the quality was much higher; the second is that Photography left France and became international, with advancements being made in technology and the easy of access to the techniques, both the practice and the images spread across the seas and embedded themselves into different societies the same way it did in Paris.
Section ii : Pornographic Magazines
In the 1890s, a new technological advancement brought Pornography to an even greater audience, by utilising the halftone printing technique it became possible to reproduce nudes for a mass market in the form of magazines.
When the first magazines with photographs appeared in the last decade of the 19th century, Pornography found the medium that would enable it to reach a mass market, by 1950 the number of titles had grown exponentially, magazines became the chief means of spreading Pornography.
According to Author Mark Gabor, ‘these magazines were as shocking then as hustler magazine today, these were often very leggy women who were casted in burlesque plays and they would get published in magazines’, however, he continues by mentioning that ‘in England for example, there was a magazine called photobits that had healthy, wholesome photographs of women sometimes frolicking on a lawn at a picnic or something, they were very tame erotically. The magazines ‘spicier’ stuff was in written materials'. (Gabor, 2014)
Just as many of the photographic ‘Academie’ had done a hundred years before, early men’s magazines claimed to be serving a higher purpose, the naturist magazine for example, claimed to be a celebration of the human body, even if the usually female model was striking the familiar pornographic pose (as seen in Fig 9). In contrast, The Modern Art magazine was showing the naked female form for the loftiest artistic reasons, which usually required poses drawing attention to the crotch and breasts.
Mark Gabor discusses in his book ‘The Illustrated History of Girlie Magazines’ that ‘In the 1940s sexual imagery was focused more on emphasising the legs, in the 50s which we can identify more with Marylin Monroe, the emphasis went to breasts, in the 60s the emphasis, strangely enough, turned to buttocks, then following that was the turn towards the pubic area and the crotch’(1985).
In 1953, Hugh Hefner founded Playboy, a magazine which would define a new style of Pin-up Pornography, from the very beginning, Hefner defined this magazine as a ‘Magazine for me’, in the first issue he wrote,
If you’re a man between 18 and 80, playboy is meant for you…..we want to make it clear from the start, we aren’t a “family” magazine. If you are somebodys sister, wife or mother-in-law and picked us up by mistake, please pass us along to the man in your life and get back to the ladies home companion.
Hugh Hefner (1953)
Playboy would go on to define sexual trends and fantasies for many years to come, often featuring celebrities at the time such as; Marylin Monroe in 1953, Carol Lynley in 1965, Janet Jones in 1987 and Nancy Sinatra in 1995.
In 1965, an American called Bob Guccione founded Penthouse magazine, a publication which would go on to not only define a genre but actually make huge strides in normalising sexual imagery for not only readers of the magazine but for a massive portion of the western world.
Up until then, the model within sexual imagery traditionally looked into the lens, and by extension at the viewer, however, Penthouse decided they wanted something a little more intimate, Guccione explained that;
when photographing for penthouse, I would put something between me and the girls, because the real allure of this type of photography was the penetration of the privacy of the girl, this is what the voyeur is basically looking for, he doesn’t want girls smiling or recognising the fact that hes there, they want to be doing something intimate, something personal, for example; taking of their makeup, something they don’t want to be seen doing, and we are therefore invading their privacy
Bob Guccione (2014)
This fundamental change to the photograph helped Penthouse become one of the bestselling men’s magazines in the world, a position it still holds to this day, Penthouse also dared to publish pictures that were solely reserved for ‘under the counter’ magazines. In 1966, a year after publication began, Penthouse introduced its first ever full frontal nude, controversy ensued over the image, the general consensus of the time was that if an image included any kind of pubic hair then it was considered obscene or pornographic, however, despite the inclusion of pubic hair and the image being on the front cover, the magazine was sent into production and they got away with it, this landmarked a huge step for pornography, because for the first time sexually explicit imagery was being displayed and sold off the shelf to the public rather than under the counter.
Eventually it became acceptable for more risqué imagery to be used in men’s magazines, this lead to a reshuffle of laws in several countries to what was acceptable and what wasn’t acceptable to be published, Guccione explains that ‘the French edition is very hard [more sexually explicit], the English edition is very soft sexually [less sexually explicit], the German edition has accents of S&M, the Japanese edition scrupulously avoided showing any pubic hair’ (Guccione, 2014), this inevitably ment that men’s magazines increasingly had to way up what the law would allow against the desire of the consumer for more explicit material.
As time went on and sexual imagery became more acceptable, different magazines were able to push the boundaries of sexual imagery, some magazines pushed the boundaries to far and eventually folded, whereas others weren’t pushing far enough and viewers lost interest, according to Gabor ‘the success of any men’s magazine was in their ability to know exactly the line that would keep their viewers interested’.
Chapter Three : Modern Pornography
Section i : Amateur vs Professional
With the invention of the internet and the advancement of Photographic technology, pornography had the public in a way never before seen, cameras had evolved from film to digital and had become so inexpensive that anyone from the public was able to purchase one and begin production of pornographic content.
With the evolution of camera phones the market became flooded with amateur pornography, this type of pornography came with its own particular style, look and feel, the images became more open and less artistically stylised, instead of catching a model at their most vulnerable or most ‘unawares’ as Guccione did in Penthouse, the amateur pornographer tends to be more open, attempting to show you the sexual act outright, similarly to how the original daguerreotype pornographers did, however, instead of simply recording an event, amateur pornographers almost act as the narrator, telling you a story and pulling you into an image, take Fig 12 for example;
The person within the image is clearly the narrator, the one producing the image, they are putting themselves on full display, masturbating for the enjoyment of the observer, however, contrasting to what we have seen previously, the image is neither elegant or particularly striking, the amateur pornographer (lacking means and funds) tend to produce pornography within their own surroundings, basically whatever they have access to, compared to Fig 5 and Fig 7 we can see a clear change in artistic merit and overall production value.
As we compare, Fig 13 is professionally produced pornography, we can observe that the production value has increased, everything from the lighting, the cleanness of the image, even the models within the image itself are of a higher standard. This doesn’t mean however that the amateur pornography is inherently bad and the professional pornography is inherently better, this simply refers to the fact that professionally produced pornography has a higher budget and because of this typically ends up having a quite extensive team to produce the imagery/video they are creating. On the other hand, an amateur porn producer/model has to do everything on a limited budget and typically on their own, amateur Cam Model Caroline Mosley discusses that;
We do everything on our own, we have to get up, get ourselves ready, we don’t have a makeup artist, we don’t have a wardrobe artist who gives us stuff to wear or do our makeup, we have to do that on our own, and we have to set up the lighting, we have to set up the camera, set up the scenario and the situation, we are the camera men, we are the makeup artist, we are the wardrobe person, we are the directors, we are the producers, we are basically every part of the porn film.
Caroline Mosley (2014)
Pornography, now more than ever, is a medium for artistic expression that anybody can produce or consume at the click of a button, with literally thousands of Pornographic websites out there and growing, catering to every vice, fetish and fantasy, it has never been easier to delve into the industry.
Section ii – Conclusion
In this research essay we have explored the world of historic Pornography, from the fertility idols of 20,000 B.C.E, to the sculptures and paintings of ancient Pompeii, this research has given us an insight to what ancient culture was like in regard to explicit materials, we have discovered how accepting and indeed sought after these artworks truly were. Next we discussed how with the rediscovery of Pompeii lead to panic as these highly explicit artworks were excavated and brought the academic world to its knees, how it was locked away out of fear, and how eventually the discoveries had to be discussed.
Then we come to the prohibition and the invention of photography, we discovered how an ancient civilisations customs and traditions lead to imagery being outlawed and illegalised, and how the Victorians were so passionate about these types of images that they produced them anyway despite fearing imprisonment. Following that we discussed how the printing press revolutionised pornographic consumption and how this eventually lead to law changes and subsequently made pornography acceptable throughout the world.
Finally we discussed how the internet and evolution of technology lead to pornographic production and consumption on a global scale for just about anybody with a camera. However, what does all this amount to?, and what does it all mean?.
We can conclude that based on the evidence presented and discussed throughout this research essay, that historically sexually explicit imagery wasn’t something to be shunned, nor was it considered degrading, it was celebrated, seen for the Art it truly was, it was put on full public display for everyone to see, it was exhibited with pride and passion, not as something to be masturbated over but something to be enjoyed, to be studied by current and future generations, it was only with the burial and rediscovery of these artworks that they became shocking or explicit, a logical assumption to make is that if Pompeii hadn’t been destroyed by Mount Vesuvius then the modern opinions of pornography could have been totally different.
As it stands today, Pornography consumption is somewhat divided, on one side we have the advocates, the ones who celebrate pornography for its artistic license, its portrayal of the human form and celebration of passionate embrace. On the other side we have the critics, the ones who shun pornography as a disgrace because of how its broadcasting a private experience to the world and brand it as disgusting or improper, however, in a society so divided on sexual imagery, one conclusion is clear, Linda Williams wrote;
It is no longer a question of saying what was done – the sexual act – and how it was done; but of reconstructing, in and around the act, the thoughts that recapitulated it, the obsessions that accompanied it, the images, desires, modulations, and quality of the pleasure that animated it. For the first time, no doubt, a society has taken upon itself to solicit and hear the imparting of individual pleasures.
Linda Williams (1981)
Pornography remains important and significant in modern society for two reasons;
Sexual representation is (and always has been) a cultural art form engrained in our society since the prehistoric era.
It remains as an important historical construct for future generations to study, the same as we have with the Egyptians, Pompeiians and Victorians
Pornography remains as an essential tool for human depiction in art and society as a whole, we leave behind depictions and representations of what we find attractive, sexually stimulating and pleasurable in our society but also (now more than ever) what we find taboo and risqué, similarly to how the Egyptians did with the Papyrus Turin 55001, we leave behind our sexual legacy for future generations as a way of representing who we are.
Reference List
Section i : Books
Attwood, F. (2010). Porn.com. New York: Lang
Dines, G. (1998). Pornography : The Production and Consumption of Inequality. London: Routledge
Dworkin, A. (1981). Pornography. London: Women’s Press
Gabor, M. (1985). The Illustrated History of Girlie Magazines. London: Futura
Grant, M & Mulas, A. (1975). Eros in Pompeii. New York: Morrow
Kappeler, S. (1986). The Pornography of Representation. Oxford: Polity Press
Unknown. (1857). A Collection of the Public General Statutes: 1857, 2. [Retrieved : November 13, 2018] https://books.google.co.uk/books?id=h2BFAAAAcAAJ&source=gbs_navlinks_s
Williams, L. (1989). Hard Core. London: Pandora
Section ii : Journals
Abdalla, M. (2013). Die Manner Auf Papyrus Turin 55001. Journal of General Union of Arab Archaeologists, (14), 16-26. [Retrieved : November 27, 2018] https://doi.org/10.21608/JGUAA.2013.2999
Anonymous. (2000). Moreover : Porn From Pompeii. The Economist, 355 (8156), 94-94. [Retrieved : November 13, 2018] https://search-proquest.com.ezproxy.bolton.ac.uk/docview/224049054?accountid=9653.
Section iii : Websites
Ancientpeoples.tumblr.com. (2017). Tumblr. [online] Available at: https://ancientpeoples.tumblr.com/post/81996732851/papyrus-turin-55001-also-known-as-the-erotic [Accessed 25 Nov. 2018].
findlen, p., scheiner, c. and wagner, p. (2014). Pornography : The Secret History Of Civilization Ep2. [online] YouTube. Available at: https://www.youtube.com/watch?v=8CUkupG71K0&index=4&list=LLqnUoTu1jb8duTwm_1M-aNg [Accessed 28 Nov. 2018].
Goldhill, S., Clarke, J. and Wallace, A. (2014). Pornography : The Secret History Of Civilization Ep1. [online] YouTube. Available at: https://www.youtube.com/watch?v=4akBblB2K1Q&list=LLqnUoTu1jb8duTwm_1M-aNg&index=3 [Accessed 22 Nov. 2018].
McCauley, A., romer, g. and guccione, b. (2014). Pornography : The Secret History Of Civilization Ep3. [online] YouTube. Available at: https://www.youtube.com/watch?v=fGv-Tejg0oc&index=5&list=LLqnUoTu1jb8duTwm_1M-aNg [Accessed 30 Nov. 2018].
Mencher, K. (2016). Why is the “Venus of Willendorf,”so important.. [online] Kenneymencher.com. Available at: http://www.kenneymencher.com/2016/09/why-is-venus-of-willendorfso-important.html [Accessed 15 Nov. 2018].
Mowsley, C. (2014). The BIG difference between professional porn models and amateur cam/porn models. [online] YouTube. Available at: https://www.youtube.com/watch?v=R_n5nJGYUNU [Accessed 31 Dec. 2018].
owens, j. (n.d.). Pompeii : Archaeologists are investigating the remains of Pompeii, a city frozen in time.. [online] National Geographic. Available at: https://www.nationalgeographic.com/archaeology-and-history/archaeology/pompeii/ [Accessed 18 Nov. 2018].
Oxford Dictionaries | English. (2019). pornography | Definition of pornography in English by Oxford Dictionaries. [online] Available at: https://en.oxforddictionaries.com/definition/pornography [Accessed 17 Nov. 2018].
Pornhub.com. (2016). Caroline Mosley (Ryden Armani) - Close Up. [online] Available at: https://www.pornhub.com/view_video.php?viewkey=ph5791506544150 [Accessed 31 Dec. 2018].
Pornhub.com. (2018). Silhouette Blowjob With Massive Cum Facial. [online] Available at: https://www.pornhub.com/view_video.php?viewkey=ph5aa9d346394ee [Accessed 30 Dec. 2018].
The Book of Life. (n.d.). The Poignancy of Old Pornography - The Book of Life. [online] Available at: https://www.theschooloflife.com/thebookoflife/old-pornography/ [Accessed 9 Dec. 2018].
Vincent, A. (2013). Erotic Pompeii goat statue arrives in the British Museum. [online] Telegraph.co.uk. Available at: https://www.telegraph.co.uk/culture/art/9926420/Erotic-Pompeii-goat-statue-arrives-in-the-British-Museum.html [Accessed 27 Nov. 2018].
Xhamster.com. (2018). Free Porn Videos & Sex Tube Movies at xHamster. [online] Available at: https://xhamster.com/ [Accessed 28 Dec. 2018].
YouTube. (2014). Pornography : The Secret History Of Civilization Ep4. [online] Available at: https://www.youtube.com/watch?v=E3OpyO_zfP8&t=59s [Accessed 31 Nov. 2018].
YouTube. (2014). Pornography : The Secret History Of Civilization Ep5. [online] Available at: https://www.youtube.com/watch?v=m_iXFSQ09jI [Accessed 4 Dec. 2018].
YouTube. (2014). Pornography : The Secret History Of Civilization Ep6. [online] Available at: https://www.youtube.com/watch?v=TtD-IPAn8aw [Accessed 4 Dec. 2018].
YouTube. (2017). Sex and Pornography in Early Egypt - A Documentary. [online] Available at: https://www.youtube.com/watch?v=9hV5fPQPIJY [Accessed 28 Nov. 2018].
Zygmont., D. (2015). Venus of Willendorf. [online] Khan Academy. Available at: https://www.khanacademy.org/humanities/prehistoric-art/paleolithic-art/a/venus-of-willendorf [Accessed 1 Nov. 2018].
Section iv : Plate List
Fig 1 – The Venus of Willendorf (24,000-20,000 B.C.E), Unknown
Fig 2 – A section of The Papyrus Turin 55001 [original] (1150 B.C), Unknown
Fig 3 – The Papyrus Turin [Full Reconstruction] (N.D), Unknown
Fig 4 – Pan and the Goat (74 A.D), Unknown
Fig 5 – Untitled (N.D), Louis Daguerre
Fig 6 – Untitled (N.D), Unknown
Fig 7 – Untitled (N.D), Unknown
Fig 8 – Screenshot of 19th century Pornographic Magazines, Youtube
Fig 9 – Naturist magazine issue 9 (1963), xhamster
Fig 10 – The front cover of Playboy issue one (1953), Playboy
Fig 11 – The Liberated Call Girl (1973), Penthouse
Fig 12 – Untitled (2010), Unknown
Fig 13 – Silhouette Blow Job With Massive Facial, Pornhub
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