ABSTRACT
Anne McClintock observes that “the pace of porn-the swerves in scene, the switches of persona, the rehearsal of variety within the structure of compulsive repetition-mimics the floating, chaotic structures of masturbatory fantasy.” While critics such as Rebecca Schneider equate the structure of compulsive repetition standard in heterosexual porn scenes to the destructive, self-perpetuating insatiable desires of capitalism’s market system (discussed in the last chapter), McClintock nonchalantly comments that this dramaturgy in all its various forms follows “an obscure logic about which we know very little.”1
