Clearly someone didn't read the linked article, written by Professsor Nathan Abrams (
︎), Lecturer of Modern American History.
Some snippets:
A story little told is that of Jews in Hollywood’s seedier cousin, the adult film industry. Perhaps we’d prefer to pretend that the ‘triple-exthnics’ didn’t exist, but there’s no getting away from the fact that secular Jews have played (and still continue to play) a disproportionate role throughout the adult film industry in America. Jewish involvement in pornography has a long history in the United States, as Jews have helped to transform a fringe subculture into what has become a primary constituent of Americana. These are the ‘true blue Jews’.
Though Jews make up only two per cent of the American population, they have been prominent in pornography. Many erotica dealers in the book trade between 1890 and 1940 were immigrant Jews of German origin. According to Jay A. Gertzman, author of Bookleggers and Smuthounds:The Trade in Erotica, 1920-1940 (Philadelphia: University of Pennsylvania Press, 1999), ‘Jews were prominent in the distribution of gallantiana [fiction on erotic themes and books of dirty jokes and ballads], avant-garde sexually explicit novels, sex pulps, sexology, and flagitious materials’.
Jewish involvement in porn, by this argument, is the result of an atavistic hatred of Christian authority: they are trying to weaken the dominant culture in America by moral subversion. Astyr remembers having ‘to run or fight for it in grammar school because I was a Jew. It could very well be that part of my porn career is an “up yours” to these people’. Al Goldstein, the publisher of Screw, said (on lukeford.net), ‘The only reason that Jews are in pornography is that we think that Christ sucks. Catholicism sucks. We don’t believe in authoritarianism.’ Pornography thus becomes a way of defiling Christian culture and, as it penetrates to the very heart of the American mainstream
It is a case of the traditional revolutionary/radical drive of immigrant Jews in America being channelled into sexual rather than leftist politics. Just as Jews have been disproportionately represented in radical movements over the years, so they are also disproportionately represented in the porn industry. Jews in America have been sexual revolutionaries. A large amount of the material on sexual liberation was written by Jews. Those at the forefront of the movement which forced America to adopt a more liberal view of sex were Jewish. Jews were also at the vanguard of the sexual revolution of the 1960s. Wilhelm Reich, Herbert Marcuse and Paul Goodman replaced Marx, Trotsky and Lenin as required revolutionary reading. Reich’s central preoccupations were work, love and sex, while Marcuse prophesied that a socialist utopia would free individuals to achieve sexual satisfaction. Goodman wrote of the ‘beautiful cultural consequences’ that would follow from legalizing pornography: it would ‘ennoble all our art’ and ‘humanize sexuality’.
In light of the relatively tolerant Jewish view of sex, why are we ashamed of the Jewish role in the porn industry? We might not like it, but the Jewish role in this field has been significant and it is about time it was written about seriously.
The Walt Disney of p*rn:
en.wikipedia.org
The one known for normalizing pornography in the US:
en.wikipedia.org
“The only reason that Jews are in pornography is that we think that Christ sucks. Catholicism sucks. We don’t believe in authoritarianism.”
The "Donald Trump of p*rn", founder and chairman of the Vivid Entertainment Group, top producer of adult content in the US for decades:
en.wikipedia.org
The Pawnbroker, first movie that neglected the Motion Picture Production Code restricting explicit nudity, and released the movie without the Production Code seal, not unsurprisingly promoting pornographic content in combination with their other profitable Shoah industry.
en.wikipedia.org
Starring Rod Steiger (
︎), directed by Sidney Lumet (
︎), produced by Ely Abraham Landau (
︎).
en.wikipedia.org
In 1964, the
Holocaust film
The Pawnbroker, directed by
Sidney Lumet and starring
Rod Steiger, was initially rejected because of two scenes in which the actresses
Linda Geiser and Thelma Oliver fully expose their breasts, as well as due to a sex scene between Oliver and
Jaime Sánchez described as "unacceptably sex suggestive and lustful". Despite the rejection, the film's producers arranged for Allied Artists to release the film without the Production Code seal, with the New York censors licensing the film without the cuts demanded by Code administrators. The producers appealed the rejection to the Motion Picture Association of America.
On a 6-3 vote, the MPAA granted the film an exception, conditional on "reduction in the length of the scenes which the Production Code Administration found unapprovable". The requested reductions of nudity were minimal; the outcome was viewed in the media as a victory for the film's producers.
The Pawnbroker was the first film featuring bare breasts to receive Production Code approval. The exception to the code was granted as a "special and unique case" and was described by
The New York Times at the time as "an unprecedented move that will not, however, set a precedent". In
Pictures at a Revolution, a 2008 study of films during that era,
Mark Harris wrote that the MPAA approval was "the first of a series of injuries to the Production Code that would prove fatal within three years"
