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: the beauty industry and the porn industry, in their own sometimes-converging ways, have caused a lot of that. Going back to the early '70s, as women began to enter the workforce in larger numbers, some of that earning power was used against them by aggressive beauty product marketing. The result has been an increasing focus in the last three decades on dieting, an explosion in both sexes of bulimic and anorexic eating disorders and body dysmorphia.. These body image issues are sometimes fatal. The cosmetic surgery industry has strengthened these attitudes by encouraging people to act on these dysmorphic tendencies and, as in Piercy's poem, cut off the offending body parts. The overwhelming majority (about 98%) of these clients are women. (I would like to differentiate here between cosmetic surgery, used to change looks, and plastic surgery, used to rebuild people).

In addition, pornography is a multi-billion dollar global industry. Almost all of the porngraphy out there aimed at heterosexual men and is extremely degrading to women. Women are often depicted as passive, as secretly always wanting to be dominated sexually, and are often referred to as 'bitches', 'whores' and 'cunts'. Men are depicted as aggressors who have an insatiable appetite for sex, and whose manhood is defined by having repeated rapacious sex with women. The porn industry has affected the fashion industry in terms of both style (the way models are posed) and content (thongs used to be worn by only strippers and porn stars).

Women are extremely under-represented in positions of real power in the media - there are very few station managers and programme directors who are women. Putting it all together, it means women are more likely than ever to be judged on appearances, to be seen as passive, and to generally be objectified, and have less ability to mitigate that through active control of the media. Raunch culture is an outgrowth of this and fuels the cycle.

One example of that convergence in the beauty industry and the porn industry can be seen in the work of Cindy Sherman (1954- ), with her use of shop mannequins and dolls. Store mannequins often created to be sexy, sex sells, after all, but Sherman pushes this concept to depict dolls in explicitly erotic situations that are unsettling to view, calling to mind a doll's (unadvertised) function as a child's tool to explore sexuality.

The doll in 'Untitled Film Still #255a€3 (1992) has been fitted with realistic (if hairless) genitalia and is surrounded by ordinary household objects (hairbrush, rope) that, in the context of the doll's doggy-style position, become S&M objects of torture and pleasure. Known for her transforming self portraiture, Sherman has experimented wildly with mannequins and dolls through photography. The joints of her mannequins are pronounced, calling attention to their inanimate-ness, they are often fitted with exaggerated or hyper-realistic sexual and reproductive organs, wrinkles and body hair, which normally you would not see or correlate with Barbie or action man or dolls in general.

Just as Kliszynski,s highly provocative photographic art with his use of Barbie, Cindy Sharmen has been testing those parameters of acceptable pornographic content for the last 30yrs. Her work has caused much controversy due to the fact that Sherman herself is a vibrant part of her work, and also that the 本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。