ABSTRACT
This chapter reviews the history of this model and then shows how doors to opportunity open. Mainstream filmmakers claimed higher moral high ground by putting such angels on screen as paragons. They also styled themselves as moral teachers, educating crowds about threats to the purest members of their society. Mainstream industry codes banned most allusions to sex from feature films, while pornography could pursue fantasies of men's possession of women out of the public eye. The stag films that soon developed showed stripteases and sex acts to arouse, screened in such venues as brothels or men's clubs, where patrons could bond over their trade in women's bodies. Traffic in women became both the topic and purpose of much early cinema. An influential feminist theory describes this "active/passive heterosexual division of labour" in mainstream cinema. In cinema, the rules of production differ from those of television.
