Bibliographic record
Abstract
BONNIE SHERR KLEIN'S NOT A LOVE STORY By Rebecca Sullivan Toronto: University of Toronto Press, 2014,144 pp.REVIEWED BY MANDY ELLIOTTIn her introduction to Bonnie Sherr Klein's a Love Rebecca Sullivan reminisces that when [she] saw Not a Love Story, in 1992, [she] hated almost everything about (6). Despite this admission, Sullivan reconsiders her initial dislike of the film, and advocates a second look, contending that Klein's film, which attempts to offer a feminist on pornography and sex work, and which many critics pan for being glaringly anti-porn, actually resists a one-sided perspective. Rather than position the in the context of the Porn Wars, within which it has been predominately situated, Sullivan suggests that it should be read outside the pro- or anti-porn binary. While Sullivan acknowledges the film's tendency toward moralizing, and the problems with its often-redemptive spirit, she argues that No ta Love Story gives such voice to [sex workers] that it overwhelms our own desire to reduce the arguments contained therein to a simple case of pro- versus anti-pornography (8). Sullivan boldly situates Not a Love Story at the centre of the Porn Wars and the Canadian Sex Crisis of the 1980s and 1990s, before attempting to extricate it from that centre to provide, if not an acquittal from the original accusations of the film's shortcomings, at least a plausible defense.Released in Canada in 1981, Kleins was made for the now-defunct Studio D, the National Film Boards Women's Unit, and features Klein and activist, performance artist, and stripper, Lindalee Tracey, as well as several sex workers, and some anti-porn feminist activists. It journeys with Klein and Tracey through seamy sex clubs and porn shoots in Montreal, New York, and San Francisco, and is regarded as the first Canadian to explore pornography's role in society from a feminist perspective (i).After providing a brief history of the film's historical context, and an overview of the criticisms that were aimed at it, Sullivan interviews the surviving filmmakers and familiarizes herself with numerous interviews with Tracey, who died in 2006. These interviews are critical to her examination of the as a major catalyst for discussion of sex work and pornography in Canada, and they work to support her central claim that the complicates the pro- versus antipornography binary by provocatively probing issues of social inequality and the role of feminist agency within Canadian sex work.The book's chapter discusses Klein's association with the National Film Board, and also provides a brief biography of Klein, outlining her use of as social critique and feminist voice. While brief, this chapter provides an informative window on Klein's relationship with Studio D, and the social climate of the National Film Board in the late 1970s and early 1980s. Sullivan presents Klein's motivations for navigating the worlds of feminism and pornography, and rather than critique these motivations, she lets Klein's experiences with the NFB and her assertion that film is a medium of questions (22) speak for themselves.Sullivan delves into the making of Not a Love Story in her second chapter including several reminiscences of the crew's thought process during filming before moving into a discussion of Tracey's attachment to the project and her ensuing relationship with Klein. In doing so, Sullivan examines Tracey's part in the filmmaking, her motivations, and her role as a bridge between Klein and the sex workers. Sullivan also details Klein's movement away from a in which she celebrates sexual expression while criticizing pornography toward exposing what she saw as the unknown seamy side of the porn industry. …
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.001 |
| Insufficient payload (model declined to judge) | 0.001 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one teacher head, not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".