Man Raped Porn

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Man Raped Porn



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Amanda Hess
December 4th, 2009 September 30th, 2020
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In today’s Sexist Beatdown, we discussed the reluctance to accept men as victims of sexual assault . Men, according to the Gender Police, are seen as unrapeable —-they are constantly expected to pursue sex, and are therefore impossible to violate. Commenter Drew noted another cultural barrier to male victims of sexual assault—-our tendency to conflate sexual violation with penetration. He writes:
to get into even more touchy territory, maybe the word “sex” isn’t specific enough. Because what really seems to be at issue here isn’t just anything that falls under the heading of sex, it’s really more what falls under the heading of “penetration.”
Because I’d bet those same (straight) men who have a hard time seeing/admitting a big problem with them being drunkenly led into having obligation/consequence-free sex would probably immediately see the situation very differently if the “sex” turned out to have involved them being on the penetrated end of a sex act (whether with a woman or a man).
The idea that rape is classified based on body parts isn’t just a cultural thing; it’s a criminal thing, too. According to the FBI’s Uniform Crime Reporting system, forcible rape is “the carnal knowledge of a female forcibly and against her will.” To the FBI, the carnal knowledge of a male forcibly and against his will is considered a different (and lesser) crime: “assault.”
Here, sexual consent is defined not only by a person’s will, but by their physical attributes. According to the FBI’s definition, female bodies can be raped, but male bodies cannot. I suspect this is why men are only seen as victims when their bodies are penetrated—-it’s perceived as a feminine sexual position, and only female bodies can be victimized. Under this model, physical characteristics become shorthand for consent.
When people who believe that men can’t be raped are forced to justify their position, the argument usually goes something like this:
A : If a person can’t legally consent to sex when they’re too drunk, what happens when both sex partners are too drunk to have sex? Why isn’t the man considered a victim of rape as well?
B : Even when two people are drunk, at least one of them has to physically initiate the sex act. When both partners are actively and enthusiastically participating, it’s sex. When only one person is physically pursuing sex, and the other person has verbally consented that that’s what they’re into, it’s sex. When only one person is physically pursuing sex, and the other person hasn’t provided their verbal consent, it’s assault. It’s impossible for two people lying around passed out to somehow violate each other against both of their wills. Sex doesn’t just happen .
A : OK. But why is it that only men are assumed to be the aggressor in a situation like that? Can’t a woman physically force herself on a guy who’s too drunk to have sex?
B : Because … his dick wouldn’t get hard.
Some people actually think that an erection is a physical indication of consent. It is not. According to the Rape Victim Advocacy Program , arousal is actually quite common in sexual assault scenarios involving both male and female victims:
Male victims/survivors are often ashamed and confused when their body responds during an assault. Frequently, men who are sexually assaulted or raped have an involuntary or forced erection or ejaculation. Also, muscles in the anus often relax when a man is raped. This does not mean that the survivor wanted to be raped or sexually assaulted. Involuntary erections and ejaculations are normal reactions to physical stimulation even when sex is non-consensual.
As the National Center for Victims of Crime notes, male victims of rape often blame themselves for their “involuntary physiological reaction” to a sexual assault. They, too, believe an erection automatically implies consent:
It is not uncommon for a male rape victim to blame himself for the rape, believing that he in some way gave permission to the rapist (Brochman, 1991). Male rape victims suffer a similar fear that female rape victims face—-that people will believe the myth that they may have enjoyed being raped. Some men may believe they were not raped or that they gave consent because they became sexually aroused, had an erection, or ejaculated during the sexual assault.
If we’re serious about addressing sexual assault against men and women, we must break down these physical barriers. The female body has long been invoked to justify sexual assaults against women—-we are too sexy to be left alone, too vulnerable to fight back, too feminine to be respected. A woman’s body should never make her a victim—-and a man’s body should never make him invisible.
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John Boorman’s acclaimed 1972 film gave audiences a depiction of male rape that remains powerful, unsettling and unresolved. Rather than confronting its implications, we’ve spent the last several decades parodying it.
It’s the way people say “that scene” when they’re discussing “that scene” from Deliverance . There’s an extra emphasis on “that,” as if they’re handling noxious chemicals, with heavy-duty gloves and held as far away from their face as possible.
Nearly 50 years after its release, Deliverance remains a compelling, riveting film. When its stars appear on talk shows, even decades later, any mention of the thriller garners applause. But there’s always been a disconnect between Deliverance ’s cultural standing and the ugliness of its most infamous scene, in which Ned Beatty’s Bobby is raped by Georgian mountain men. The blunt impact of plenty of older movies has diminished over time. But not the rape scene from Deliverance . It still has the power to unnerve — in large part because we’ve never, as a society, completely grappled with it. That’s why we make jokes about it. That’s why we refer to it as “that scene.”
Deliverance came out in the summer of 1972 and was the year’s fifth-highest-grossing movie , ahead of the Oscar-winning Cabaret and behind the porn drama Behind the Green Door . It was nominated for three Academy Awards, including Best Picture — the year’s biggest hit, The Godfather , took home the prize — and was generally well-reviewed by critics . But as with so many iconic films, Deliverance has been boiled down in the culture’s consciousness to a few memorable lines and indelible moments, which have come to stand for the movie as a whole. In this case, it might be “Squeal like a pig.” Or perhaps it’s the instrumental “Dueling Banjos.” Either way, we now think of Deliverance as the movie about inbred Southern hicks — as that movie where the guy rapes the other guy. And because that’s how we’ve reduced Deliverance , popular culture keeps regurgitating those bits, parodying and mocking them.
First, a quick plot description: Deliverance is the story of four Atlanta friends — Ed (Jon Voight), Lewis ( Burt Reynolds ), Bobby (Beatty) and Drew ( Ronny Cox ) — who decide to hit the great outdoors in order to canoe down the gorgeous (and fictional) Cahulawassee River. The buddies aren’t too impressed by the local-color bumpkins they meet, but their air of superiority is punctured when, during the journey down the river, Ed and Bobby are accosted by some vicious hillbillies, who force Bobby to strip and then sodomize him. The only thing that saves Ed from a similar fate is Lewis killing the rapist with his bow and arrow. The friends bury the rapist and make a run for it, frantic to escape this picturesque hellhole alive.
Deliverance ’s screenplay was written by James Dickey , based on his novel . The rape scene originated in the book — in a 1993 interview, Dickey explained the importance of such a shocking sequence: 
“What I wanted to do was to have a scene which would bring into focus the most abiding and the deepest fear of people in our time, in our century, which is the fear of being set upon by malicious strangers, to be assaulted by people who would just as soon kill you as look at you. … That’s the fear of our time, and I wanted to use that motif as a lead-in to what happens in the rest of the story.”
 Ed narrates the book, noting in anguished detail his reaction to his friend’s rape:
“A scream hit me, and I would have thought it was mine except for the lack of breath. It was a sound of pain and outrage, and was followed by one of simple and wordless pain. Again it came out of him, higher and more carrying.”
And even though Bobby is eventually rescued, his friends’ feelings toward him are changed because of what occurred : 
“Bobby got off the log and stood with us, all facing Lewis over the corpse. I moved away from Bobby’s red face. None of this was his fault, but he felt tainted to me. I remembered how he looked over the log, how willing to let anything be done to him, and how high his voice was when he screamed.”
In his book Male on Male Rape: The Hidden Toll of Stigma and Shame , author and sexual abuse educator Michael Scarce points to Deliverance as symptomatic of how society — and men in particular — view male rape. “We like to believe that men are capable of defending themselves physically,” he writes , “and if a man is raped, he must have somehow allowed it to happen. This classic blame-the-victim mentality is accompanied by a feminization of Bobby. Having been forced into a sexually submissive role, he is somehow less of a man, signified by the focus on his high-pitched screams.” 
As Scarce points out, the film, which was directed by John Boorman , never mentions the rape afterward — never allows for Bobby or his friends to discuss the horrible act that has occurred. It’s the bad thing that shouldn’t be mentioned. 
“The whole film revolves around masculinity,” says Machado. “It begins as this journey of self-discovery and defining one’s manhood. Although many of the details about the rapists’ identities and motivations are somewhat ambiguous, the [rape] scene is set in a way that depicts the sexual act as a way of humiliating and emasculating another man. So much so, that the only way to redeem that lost manhood is to kill another man, never speak about the rape and literally bury the past. So it’s quite possible that the stigmatization of ‘losing one’s manhood’ if a man reports sexual assault has stopped some men from sharing their experiences.”
Our society still doesn’t want to talk about male rape — at least not directly. But Deliverance has birthed a long line of pop-culture references and cultural totems, often jokey, that allude to the film’s rape scene. But rape itself is almost never part of the reference — the parodies and homages speak in catch phrases and musical allusions. Nobody comes right out and mentions rape, but we can read between the lines.
One of the most common references is “Dueling Banjos,” a tune written in the 1950s and then adapted by Eric Weissberg and Steve Mandell for the film. Deliverance made “Dueling Banjos” a radio smash in 1972, as well as a Grammy winner, and its distinctive, deliberate opening riff — followed by its sped-up, back-and-forth between the two stringed instruments — became an aural trademark for the film and a symbol of the white-trash Southerners who torment our big-city heroes.     
When “Dueling Banjos” shows up anywhere in pop culture, it’s normally an indication that the South is about to be mocked. Two representative examples are from Family Guy and The Simpsons . The former turns “Dueling Banjos” into a symphony of fart noises from two dudes next to each other in a public bathroom, while The Simpsons (in the episode “Boy-Scoutz ’n the Hood,” about a camping trip gone awry) uses the song (and the outdoors-y setting) to suggest that the characters could face an unspecified but disturbing fate. But whether through juvenile scatological humor or impish parody, it’s clear that the South (and what people are apparently capable of doing there) is worth scorning.
Not that every “Dueling Banjos” reference is so snide — the song occasionally gets repurposed into other genres, shedding some of its baggage but retaining its insidiousness. The remix of The Orb ’s “Perpetual Dawn,” a groovy piece of early 1990s chilled-out electronica, buries a little “Dueling Banjos” deep into the blend of keyboards, sound effects and drum machines. (You hear it first at about the one-minute mark , but you’ll have to be listening for it.) Then there’s rapper Lady May ’s 2002 single “Round Up,” which could be thought of as a precursor to this year’s country-meets-rap smash “Old Town Road,” nicking the opening lick for some Southern-fried hip-hop. The strategy is to do a little good-natured cultural appropriation and enjoy, as guest vocalist Blu Cantrell says, some of that “country shit.” 
But in the case of both songs, the insertion of “Dueling Banjos” is meant to be shocking — an unorthodox inclusion of the most stereotypically “down south” music into aural environments thought to be too sophisticated for such backwoods signifiers.
As for “that scene,” Deliverance wasn’t the first Hollywood film to depict male rape. The Best Picture-winning Lawrence of Arabia , from 1962, features a passing reference to T.E. Lawrence (Peter O’Toole) being captured by Turkish forces and presumably raped. (The incident was based on Lawrence’s own account of what happened, although some scholars now dispute his veracity , accusing him of inventing the assault.) But Deliverance made viewers confront male rape in all its violence and cruelty. Never mind that the movies have had little issue depicting female rape. Films like 1933’s The Story of Temple Drake and 1945’s My Name Is Julia Ross were pioneers of displaying what Vulture ’s Angelica Jade Bastién calls “the sexual violence white men inflict upon women.” The descendants of Deliverance , however, didn’t necessarily build on the frankness that Boorman’s film confronted audiences with.  
A prime example is 1981’s Just Before Dawn , a slasher film about a group of teens venturing into the Oregon woods, only to be hunted down by a woodsy serial killer. Director and co-writer Jeff Lieberman used Deliverance as his inspiration, casting Deborah Benson to play Connie, who stands up to the menace. “I set out to make the Jon Voight character from Deliverance a woman, Connie, who would make the same character arc from helpless milquetoast to animalistic survivor,” Lieberman wrote in the foreword to Subversive Horror Cinema: Countercultural Messages of Films From Frankenstein to the Present . “So my political statement, if you will, was a radically feminist one, to show that when humans are reduced to their animalistic genetic baseline, there was little difference between male and female.” 
Yet Lieberman’s nod to gender equality couldn’t negate the fact that, in horror movies like 1977’s The Hills Have Eyes , Deliverance ’s “normal people who stumble into the land of freaks and weirdoes” plotline often contained a scene of the predators raping a woman. In exploitation and horror movies, men were killed, while women were raped (and maybe also killed).
If movies like Just Before Dawn capitalized on Deliverance ’s depiction of the woods as a terrible place where unspeakable horrors occur, it’s fascinating that, if anything, those portrayals have only made some people more excited to visit Rabun County, Georgia , where Deliverance was shot. According to a 2013 CBS News report , approximately 30,000 people visit the Chattooga River (the real-life stand-in for the Cahulawassee) each year, resulting in a $20 million tourism industry. Doug Woodward , a technical advisor and stuntman on Deliverance who lived in the area when the film crew arrived, says that the rush of tourists prompted people like him to make sure the river was protected.
“[Back then] there were a few access points where people would camp, and you’d have trash, dirty diapers and things around,” he tells me. “Now there’s none of that. The river became wild and scenic in May of 1972. A lot of us worked a long time to see that happen — Jimmy Carter was one of the key players in seeing that it got wild-and-scenic status.” 
It’s a strange contradiction: Adventurers have flooded the area for years thanks to a movie in which an adventure turns deadly. In a 2007 New York Times piece about the Chattooga’s popularity, a river-rafter told the reporter, “ Deliverance . That’s why we’re here.”
And Rabun County’s natural beauty — not just rivers, but waterfalls, lakes, woods and mountains — has made it an ideal filming location. Pam Thompson is a liaison for Rabun County to the film and television industry, part of Georgia’s Camera Ready initiative , which ( along with hefty tax incentives ) has helped make the state an attractive location for Hollywood productions. “Rabun County is in the northeast corner of Georgia,” she tells me. “We’re about two hours north of the Atlanta airport. We’re actually in the foothills of the Appalachian Mountains . Our county is 75 percent either national forest or Georgia Power -owned, which also makes us very appealing as a film location destination because we’re in the mountains.”
Thompson says that you won’t find any Deliverance shrines on the river — no markers to indicate where the movie was shot — but the film remains a landmark in the community. Special anniversary screenings take place in Rabun — Ronny Cox spoke at one. Thompson saw the movie as a teenager when it first came out, and has good associations with the film. “For me, it represents the beginning of a great tourism movement,” she says. “Some of the people that worked on the film ultimately came back and started the river-rafting businesses that are still operating now. That has brought a tremendous boost to our tourism industry in this county.” In fact, tourism is Rabun’s No. 1 industry — not necessarily because of Deliverance , but because the infrastructure it helped create.
Rabun still brings in big productions, too: Thompson recently worked with Oscar-winner Ron Howard for his forthcoming adaptation of Hillbilly Elegy . She still hears “Dueling Banjos” a decent amount, which makes her think of the film. But she’s not sure how
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