Seeing Sex: Occasional observations regarding the representation of sex, sexuality and gender in film ~ ‘Becoming Orgasmic’ ~ a film review

Seeing Sex: Becoming Orgasmic

“I hear and I forget. I see and I remember. I do and I understand.” – Confucius

Becoming Orgasmic is the video accompanying the book of the same name. 

It is essentially – or masquerades as – a ‘how to’ book for non-orgasmic women.  It satisfies many of the criteria for a modern, ‘liminal entity’ in that it is ‘neither here nor there’ and ‘lies betwixt and between the positions assigned by law, custom, convention and ceremonial’. 

Metz makes clear the link between the desire to see and the desire to do.

Eberwein reminds us that ‘legitimising the panoptic gaze allows us to negotiate complex and contradictory texts as well as aspects of our sexuality’ and this film winds its way through this minefield using a complex mix of pornographic conventions and standard promotional video techniques.

As viewers our observer status is extended to include participation in that we are invited by the audio voiceover to use the full range of technologies available to us – pause, stop, fast forward and rewind – to participate in more than a voyeuristic way in the experience of the central character.  It makes no distinction between participation alone or with a partner but presents both options.

Eberwein suggests that observation of others having sex can be the best source of education and this video exemplifies this concept as the scenes that unfold are graphic and often shown in real time.

Sex education videos are often permitted their legitimacy through the use of named and often reputable therapists and academics and this form is observed in Becoming Orgasmic.  The voice over is informed, medico-clinical as well as psychosocial, and authoritative.  The therapist is named and his qualification stated in the opening credits. This maintaining of distance between the counsellor and the performers is vitally important in this genre as it counteracts any accusation of voyeurism, a mode of viewing linked to pornography.  In this way the viewing and subsequent arousal and action is validated and permission given to participate. It also validates the use of some pornographic conventions in filming. Becoming Orgasmic does sustain the pornographer or educator ‘turn off the audio and who made the video’ query.

The performers are also named and it is reinforced that they are in a long term relationship. The visuals insist that they are upper middle class, normal and attractive rather than glamorous, white and upwardly mobile, all factors giving validity to the material.  The mise-en-scene, without the nudity and sexual behaviour, could be advertising a funeral parlour or florist or some-such ‘legitimate’ activity

Eberwien states that sex educators anticipate heterosexual audiences will take such work seriously and that this relates more to affect than discourse.  With Becoming Orgasmic this is evidenced by advertising material that indicates sexual arousal will be a result of spectatorship. Eberwein supports the view that if the intent of the work does not include arousal then it is not pornographic even if the result is arousal and this creates a dichotomy of views regarding this work.

As stated in Variety magazine reviews of 1969 marriage guidance films, no-one would be under any illusion that the aim of this film is to arouse as well as to educate and that ‘the line between legitimate sex education and pornography is entirely subjective’. 

Both Linda Williams and Gertud Koch observe that this connection between ‘education’ and pornography is not new.   In this, as in many or the films predecessors, the issue addressed is one of sexual inadequacy rather than sexual adequacy and addressing the issue gives the film a redeeming social context. Producers of pornography often perceive themselves as contributing to sex research (Hugh Hefner, Bob Guccione, Russ Meyers) and the producers of Becoming Orgasmic may fall into this category.

Becoming Orgasmic relies on the change in conditions of ‘reception’ from those of the 1970’s ‘grindhouse’ to those of the 21^st century.

Without the option of home viewing, this film would not have been effective in achieving its more stated – and overtly ‘noble’ – aims but could have been more readily perceived as a low level example of titillating soft porn ~ which in truth it probably is..