The Federal election is scheduled for July 2. Now is the perfect time to let your local candidate know how you feel about the objectification of women, sexualisation of girls and pornification of society. The research is solid. There is no longer any doubt about the devastating harms to our children and young people – indeed to all of us. We need our political leaders to act. But they will only take action if they see there is a constituency for change.
Here are some points you can make. Request a 15-minute meeting with your candidate. Or email or call them with your thoughts. You can approach them out on the ‘hustings’ at shopping centres and other public places. Or when they turn up on your doorstep! You will find them more open than ever to hearing from you. The main political parties keep tabs on what constituents are raising with them so make your views known.
Recognition of the harms of sexualisation as a public health crisis requiring swift and decisive action on behalf of children and young people.
The restructuring of the current regulatory environment to bring the regulation of all media and marketing together under one encompassing independent federal regulator, including a division with the primary responsibility of protecting the interests of children and young people, addressing both the direct and indirect sexualisation of children in all media modes from a child-rights basis.
Equipping parents and carers with the appropriate media literacy tools and institutional supports, to raise children who have the ability to be critical consumers and creators of media.
The evaluation and implementation of appropriate school-based education programs to educate children and young people about the harms of sexualisation, and funding to help schools secure these resources.
For a child-rights based approach to addressing the harms of media hyper-sexualisation, including respect for the voices and points of view of children and young people.
That the prevalence of sexualised images of women in our society be recognised as a significant underlying contributor to violence against women and girls.
The commissioning of comprehensive research to establish the extent of the exposure of children and young people in NSW [and your own state] to sexualising media content. However, this research should not preclude swift government action on the basis of the evidence that already exists.
The Australian Government should work with Internet Service Providers to establish a scheme for all existing and new customers to be provided with a default family friendly setting (no pornography) with opt-out only permitted by account holders who can establish that they are aged 18 years or over. Regulations to impose this requirement should be considered as a backup if after 12 months insufficient progress has been made by ISPs towards this goal.
New programs should be designed with respectful and mutual relationships as the starting point, not just ‘sex education’. Young people want content based on their real lives and experiences – information that empowers and equips them to make healthy decisions about their sexuality.
All children and young people should have access to comprehensive, age-appropriate sexuality and relationships education that promotes respectful and mutual relationships.
The school curriculum should, in an age-appropriate manner, specifically address the influence of media, including the influence of pornography and the sex industry more broadly. We believe it is not enough to adopt a public health perspective, but that a gender equality perspective is also crucial in understanding these problems.
School communities – including teachers, wellbeing staff and school leaders – should have access to quality professional learning, support and resources, to support them in implementing comprehensive relationships and sexuality education. This should include specialist support to address the influence of pornography.
Pre-service teacher training should include learning about the influence of pornography and how to address it through respectful relationships and sexuality curricula, and in other relevant learning areas.
Parents and carers should have access to information and resources to support them to parent effectively in this relatively new context of easy and anonymous access to pornography. This should include support to understand the issues, and practical advice about how to manage technology to minimise exposure and how to support their children’s reflective and critical thinking.
Other adults involved in children and young people’s care and education – such as youth workers, doctors, counsellors and health promotion staff – should have access to relevant professional learning and resources addressing the influence of pornography.
The objectification of women be made central to government policy makers in understanding the connection between gender inequality and domestic violence.
Prostitution and pornography be officially recognised by the Government as forms of violence against women and as factors both caused by, and contributing to, gender inequality.
The objectification and sexualisation of women and girls be a central consideration in the regulation of advertising, marketing, and the media.
The prevalence of sexualised images of women and girls in Australian society be recognised as a significant underlying contributor to violence against women and girls.
The role of the Advertising Standards Bureau be reviewed, and a new code of ethics on objectification form part of the ASB’s criteria for complaints.
Restructure the current regulatory environment to bring the regulation of all media and marketing together under one encompassing independent federal regulator, including a division with the primary responsibility of protecting the interests of children and young people.
The Nordic Model be adopted as Australia’s legislative approach to prostitution.
You can find out who your candidate is on the website of the Australian Electoral Commission (AEC). After the close of nominations, the AEC publishes a list of candidates in each seat, along with the contact information that candidates have chosen to make public. For the 2016 Federal Election, the Declaration of Candidate Nominations will be after midday on Friday 12th June.
Another source is Wikipedia. Contributors to Wikipedia’s candidate page are already tracking media statements and party information about who the candidates may be. There are detailed profiles and links to personal websites for some candidates.
Some of the major parties have published online directories for their candidates (parties are listed in alphabetical order).
Framing Gillard in pornographic terms is part of a concerted backlash against women in power, argues Dr Helen Pringle
This is an edited extract from an essay by Dr Helen Pringle in Bewitched and Bedevilled: Women Write the Gillard Years, a collection of essays published by Hardie Grant and edited by Samantha Trenoweth.This book, write the publishers, “looks at the reasons Julia Gillard, our first female Prime Minister, was so vehemently attacked, the varied reactions to being a female prime minister, her unfortunate position at the receiving end of a barrage of sexism and misogyny and how much this played a part in her political problems, her public perception and her ultimate undoing”.
By Dr Helen Pringle
Picture this: a naked middle-aged woman, her face distorted by a crooked grimace, is sitting with her legs spread wide apart so as to expose her whole body to the world. Her breasts are bare, but her genitals are obscured by two squares, added by the sketcher of the picture as if he wished to avoid accusations of obscenity, while simultaneously humiliating his subject by marking the squares, in a juvenile way, as 1 (her vagina) and 2 (her anus). The caption to this cartoon commands its audience, ‘Tick the Right Box!’.
This picture of Anna Bligh, then Labor Premier of Queensland, was sketched on the side of a hire van during the state election campaign in March 2012. The van belonged to Wicked Campers, a global hire company founded in Queensland by John Webb. A photograph of the van was posted on the ausgamers.com site, along with this note to clarify the political issue at stake: ‘I am not sure if anyone else has seen this van getting around Brisbane but I just had to share. So people, please remember to tick the correct box, otherwise we could end up in the crapper.’
One comment on the picture read: ‘That is an eerily accurate likeness.’ Most posters on the ausgamers site laughed at the picture, writing comments on the thread like ‘rofl’, ‘hahaha!!!!!’, or ‘fucking hilarious though’. Another poster to the thread contributed to the general hilarity by adding a photoshopped picture of a naked Kevin Rudd being spanked by Julia Gillard, with Kristina Keneally looking on, both women wearing black leather and dominatrix boots. The figure of Rudd was posed to suggest he was greatly enjoying his ‘pussywhipping’.
The world to which the cartoon Anna Bligh opens her legs is increasingly shaped by such pornographic motifs and themes. The term ‘pornography’ once referred to artifacts like magazines, books, films and videos — things that were, for the most part, bought masked in special covers and consumed in non-public or intimate spaces. But our public spaces are now increasingly shaped and marked by pornographic traces, through what Linda Williams has called ‘on/scenity’ — that is, ‘the gesture by which a culture brings on to its public arena the very organs, acts, bodies and pleasures that have heretofore been designated ob/scene and kept literally off-scene’ (‘Porn Studies: Proliferating Pornographies On/Scene: An Introduction’ in Porn Studies ed. Linda Williams, 2004). Like many other academics, Williams argues that this appearance of sexual themes and scenarios on the stage of public and political life should be welcomed as indicating a lifting of sexual repression and as heralding a greater openness about sex.
Cartoons like that of Anna Bligh on the Wicked Campers van, however, make such a view of public sex seem simplistic, and suggest instead that pornographic themes and motifs can be effectively used to humiliate women and to shut down their voice in public life. That is, when our culture brings sexual themes on to its public arena, it provides new ways to subordinate women in such spaces. At the same time as women, in increasing numbers, are standing for political roles, ‘on/scenity’ accentuates the character of politics as ‘a man’s world’, in which women’s place remains insecure. Political pornification is striking not only in Australia but also in other countries where women have sought or hold high office. The form taken by derision of Hillary Clinton when she ran for the US Democratic nomination in 2007 is a case in point.
In thinking about how the pornographic is put to work to subordinate women in political life, an analogy with women’s entry into male workplaces is helpful. In some industries, like construction, engineering, and mining, the percentage of women workers still hovers around 10% (Women in NSW 2013). Women’s entry into such segregated industries is often marked by systematically intimidating, hostile and abusive behaviour towards them, such as name-calling and commands to ‘show us your tits’, hostile graffiti, or the display and use of pornographic pin-ups (Helen Pringle, ‘Pornography: The Harm of Discrimination’ OnLine Opinion 10 October 2011). A business that requires employees to work in such ‘an unsought sexually permeated work environment’ is subjecting them to unlawful discrimination.
Women’s equal standing in and enjoyment of political life is corrupted by the acceptance of similar forms of behaviour as those that qualify as discriminatory intimidation in workplaces, even where not legally actionable. When men at work display sexual cartoons or photographs of naked men or women, or call women obscene names and epithets, it is not merely rude, offensive and inappropriate behavior. It is a form of gendered power that creates and sustains a hostile environment that puts women in their (proper) place, the place of inferiority. It is also a sign, to both men and women, that women are not assured of equality of treatment.
The abuse and ridicule targeted at Julia Gillard after she became Prime Minister in June 2010 often took this gendered form. The most extreme exponent of pornographic imagery and themes as a form of political criticism and satire is the cartoonist, Larry Pickering, notorious in the 1970s for his ‘Jungle’ series and ‘Playmates’ cartoons, which depicted male politicians with strangely-shaped penises, accompanied by smutty captions. Pickering claims that he came out of retirement specifically to combat Gillard’s Prime Ministership. The full range of his post-retirement cartoons was displayed on his website, The Pickering Post, with all designs available to be printed on t-shirts and purchased from his website shop ($38, or $48 with collar).
Pickering’s characteristic style of satirizing Gillard was as a cartoon figure with a strap-on dildo. His websites also feature vicious diatribes against Gillard and other women in politics, or women commenting on politics, such as Anne Summers. ‘Understand this, Summers, it’s obnoxious vermin like you who emboldened Gillard to take the misogynist road,’ Pickering ranted after Gillard lost office (‘A vile piece of trash called Summers’ The Pickering Post, 28 June 2013, ).
Pickering’s cartoons remind women in politics, like Julia Gillard, that they are not men, and that women can only play at doing politics. The cartoons make clear that being a woman and being politically competent are out of alignment. They also make clear that a woman who attempts to ‘play the game’ as if she were a man opens herself to derision. Pickering uses his own pen to discipline such women by showing them as out of place and as thus inviting mocking laughter. The cartoons also function as a sort of ‘Virility Monologues’, a shout out to men about what is at risk or threatened by powerful women, and a warning to men about what happens when they do not successfully play the man part of the political script.
Men like Pickering who use, or rather wield, such brutal language against women are thereby marked as properly masculine — they have the capacity and power to police the world of politics to ensure that those who enter it know that its structure and its script are defined in male terms. Femininity and democratic competence are made to part ways.
It is crucial to add that Pickering’s cartoons of Julia Gillard are pornographic not because their intention is to produce sexual arousal or to incite desire for the subject of the cartoon, as is the traditional understanding of pornography. Rather, to call them pornographic is to draw attention to the way in which they incite a cruel laughter that takes delight in humiliation and that finds subordination funny. In fact, perhaps the most effective form in which sexual hierarchies are policed today is pornographic laughter, which has become the stock in trade of unrepentant discrimination.
Pornographic laughter is also used against those who voice concerns about any kind of demeaning treatment of women, whether in entertainment, advertising or political discourse. That is, the response is that pornography is all just one big joke — and that women, in particular, need to stop taking things so seriously.
Chiding women for lacking a sense of humour in regard to pornography crosses party lines. The self-styled humourist, Ben Pobjie, for example, wrote in the left-wing magazine, The King’s Tribune: ‘There are many reasons a person might be weird enough to not like pornography. For example, that person may be suffering from nervous hysteria and just need a good finger massage or fire-hose-induced orgasm to set things right’ (‘Porn. Don’t knock it ‘til you’ve tried it’ The King’s Tribune, 5 January 2012). Complaints about the pornographic depiction of women become the occasion for further mocking laughter and derision.
Images and themes drawn from pornography are increasingly used to belittle women and denigrate their standing through making them figures of fun. This is not entirely new: the cartoons and rape jokes in Playboy and Hustler, for example, have been standard features since the magazines’ inception, and were not just ‘filler’ for the nude pictures. What is new is that the use of the pornography to incite laughter against women has migrated into the heart of political discourse, as a way of humiliating those who do not know their proper place.
It is no longer considered acceptable to bar women from the political world, or to say outright that they do not belong in that world. The primary way to practise exclusion now is through a pornographic laughter at the women who enter the political world. In that world, a woman may still be openly lampooned for being (or being like) a lesbian. A woman may still be ridiculed for having too shrill a voice or for having too manly a voice (in the case of Kerry Chikarovski, for example). A woman may still be derided for being too fat or too thin or for being both at the same time (big bottom and small breasts, say). The infamous menu at the Mal Brough fundraising dinner included ‘Julia Gillard Kentucky Fried Quail – Small Breasts, Huge Thighs & A Big Red Box’. The menu was explained away by the restaurant owner as ‘an in-house joke’, as if it was just a Benny Hill-style prank (Ben Packham, ‘Restaurant owner says demeaning menu mocked up as an “in-house joke,”’ The Australian 12 June 2013).
The criticism of women in politics in the form of crude and often cruel pornographic derision is always ready to mask itself as ‘just a joke’. This peculiar mix of the pornographic and the snigger deploys itself as discrimination, while trying to defuse itself as playful and fun. The use of gender (or racial) stereotypes is often excused in this way, giving the mistaken impression that it can’t be discrimination if it is a sleazy joke.
A flourishing deliberative democracy rests on the equal standing and treatment of its members and, as Jeremy Waldron has argued, it also depends on the recognition and assurance of that equality in society’s ‘signage’ (The harm in hate speech, 2012). My concern here is not what the cartoons might cause someone to do after viewing them. The concern is what the cartoons signal or tell us about ourselves — that we live in a world in which the hatred of women is still acceptable, and still able to be openly spoken, and spoken for. Abusive or hostile remarks and jokes about women (made even to their face) are rarely prefaced by the disclaimer, ‘I’m not a misogynist but…’ Such jokes are rarely introduced by the phrase, ‘You can’t tell this joke any more, but…’ Misogyny still falls within a framework of acceptability and this framework helps to convert the prejudices of individuals into discrimination.
Our world is increasingly shaped by pornographic motifs and themes, as well as by pornographic artifacts like magazines, books, films and videos, and these motifs are no longer quarantined from political culture and public life. The migration of pornographic imagery and discourse from entertainment and commercial arenas into political spaces was accenutuated during Julia Gillard’s tenure as prime minister. Images and narratives from journalism, pop culture and especially cartoons placed Gillard in a pornographic frame, a frame signifying not just political opposition to her and her government, but a concerted backlash against women taking positions of power.
The cartoons I discuss do not merely target specific women in politics, like Anna Bligh or Julia Gillard, but assign women more broadly to a place of inferiority in the political order, and reinforce the picture of politics as a man’s world for which women are ill-suited and in which they do not fit. Pornography in public is not sexual freedom but same old, same old subordination. And despite the sniggers of its proponents, this is actually not a laughing matter.
Antoinette Jones – Principal – Mitcham Girls High School
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Dr Michael Carr-Gregg
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“As a teacher and parent I recommend all parents, in fact all people, to attend a talk by Melinda- it will open your eyes and awaken your subconscious.”
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“Melinda’s presentations to our parents, staff and full day workshops to students was inspirational, transforming the attitudes and thinking of all involved”
Paul Teys – Principal – Hunter Valley Grammar
“Melinda Tankard Reist’s presentation to Middle and Upper School students at Pymble Ladies’ College was absolutely brilliant!”
Justine Hodgson – English Faculty, Pymble Ladies’ College
“Melinda Tankard Reist has had a transformational affect on our school.”
Ms Stephanie McConnell, Principal – Turramurra High School
“Melinda Tankard Reist is at the forefront of helping…educate the public on the link between pornography and violence…” – Di Macleod, Director, Gold Coast Centre Against Sexual Violence
“As you read, be prepared to feel both grief and rage.” Robert Jensen
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“This powerful and humane book is a breakthrough…Big Porn Inc shows us we are poisoning our own spirits.” – Steve Biddulph
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‘The foremost authority in Australia cyber safety lays it on the line and challenges parents to find their digital spine.’ – Dr Michael Carr-Gregg
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In this DVD, Melinda takes us on a visual tour of popular culture. “Melinda’s presentation leaves audiences reeling. She delivers her message with a clarity and commonsense without peer.” – Steve Biddulph, author, Raising Boys, Raising Girls
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“Overflowing with incisive understandings…a comprehensive and in-depth guide.” – Dr Michael Carr-Gregg, Consultant Child and Adolescent Psychologist
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“Getting Real contains a treasure trove of information and should be mandatory reading for all workers with young people in health, education and welfare” – Dr Michael Carr-Gregg, Adolescent Psychologist
Do you read women’s lifestyle magazines? Have you thought about how magazines might affect you when you read them? Faking It reflects the body of academic research on magazines, mass media, and the sexual objectification of women.
Ruby Who? is the sweet and innocent story of a little girl’s adventure in re-discovering her identity. Ruby wishes for so many things and dreams of being like others. Will she end up forgetting how to just be herself?
Ruby Who? is the sweet and innocent story of a little girl’s adventure in re-discovering her identity. Ruby wishes for so many things and dreams of being like others. Will she end up forgetting how to just be herself?
Defiant Birth challenges widespread medical, and often social aversion to less than perfect pregnancies or genetically different babies. It also features women with disabilities who were discouraged from becoming pregnant at all.