Is the objectification of pornographic models diminished when their images are presented as part of a deliberately crafted literary fiction?

In the context of pornography, I understand “Objectification” to mean the intentional or unintentional erasure of a model’s internal being (spirit, intellect, emotion), the consequence of which is to leave only the form – i.e. the surface of the body – to be looked upon, manhandled, or utilized for the purpose of one’s personal gratification. In my post, Does the Presence of Literary Craft…, I look at some of the ways in which this “pure” objectification is oftentimes diluted when any number of “contaminants” are identified in the pornographic image itself. But for the sake of our current question, I’ll assume that we look on each pornographic image as though it were in a state of absolute Objectification, and it is with the expressed goal of diminishing this objectification that I apply my craft. My post, Can Pornography be Engineered… asserts that pornography can be made more emotionally enriching by building compelling narrative storylines around well-drawn and internally consistent characters. Indeed, the technique is not limited to pornography: well-drawn characters in compelling storylines have been enriching us for a very long time. Regardless of its context, the intended effect of the storyteller’s strategy is to increase his or her audience’s sense of emotional attachment to the characters represented. If the strategy succeeds, then the story is said to “come to life” and resonate deeply with its audience. Thus, in the realm of pornography, it follows that if a viewer can be made to identify with a model at an emotional level – projecting into that model’s image a deeper understanding or awareness – then the objectification of that model will indeed be diminished.

It is with this thought in mind that I try to develop the content of Sir Richard Wadd. Consider the photo below, taken from the set entitled “Man United.”

The model – to whom I’ve given the name Andrew – was looking directly at the camera and was obviously in the process of speaking when the shutter opened. As a storyteller, I tried to “read” the freeze-frame expression on Andrew’s face: Is he tired? Sardonic? Bored? Taken in isolation, it’s impossible to tell, because the meaning of his expression can ultimately be coloured by an infinite number of possible narrative contexts that surround it. So let’s backtrack a bit, and approach the process from the beginning. My first step was to arrange the photos in such a way that I was able to form in my head a more-or-less cogent storyline for “Man United.” Thus, in the progression of images, this one appears at a relatively early point, where Sir Richard has just suggested to his models that they play a game. Up until this image, both Andrew and his partner have been scripted in such a way that they are still a little doubtful of Richard’s poetic mission. Because they don’t yet understand his intent, they’re playing it cool and aloof. So as we come to this image, it’s a little easier to imagine what that expression may mean: Some cautious interest, tempered by a lingering hesitancy.

SIR RICHARD
Dearest performers, I purport a game.
CHRIS
Is’t not one already, pornographer?
Behold: his cock is mine. Take a picture
And crown me thy prosaic exemplar.
ANDREW
What’s the proposition, Sir?
SIR RICHARD
Andrew’s voice
Alone to be his playmate’s commander:
That Chris to thine every wish must submit
Immediate upon the utterance.
ANDREW
How be such a thing accorded for sport?
SIR RICHARD
For as the Queen across her Commonwealth,
‘Twill grant thee dominion o’er his patience
By the exercise of royal assent:
He doth nothing ‘til thou dost approve it.
Amenable?
ANDREW
Assuredly!
SIR RICHARD
And Chris?
CHRIS
If ‘twill please my man, shall as well please me.
SIR RICHARD
Therefore we begin. Andrew? Enjoin him.
ANDREW
Relent, Sir. Unlatch from me thy fingers:
I’ll look on us in equal assessment.

With Andrew’s fears allayed and his interest confirmed, the story is free to progress to the next image.

I realize that to some, this may all sound somewhat elementary and completely obvious. But the example above is meant to illustrate the process at the atomic level – one picture at a time. Consider now what happens when this technique of “reading” pictures and subsequently writing to their suggested storylines is multiplied over many successive images – sometimes using recurring models over successive photosets. One can see how there would gradually emerge a sense of a model’s consistent character. And I should really put some emphasis here on the word “consistent.” Because although the stories and their characters are pure fiction – and always presented as such – it’s their consistency that makes them compelling. As viewers come to know (and rely on) the characters in ways that are more than simply visual, they discover a fondness for and attachment to those characters’ internal mechanisms and motivations – a state that I assert can only enhance their sexual enjoyment of the models while at the same time diminishing the degree of objectification.