The Incredible Shrinking Man (1957)
I.
Pictophilia - i.e., a love of images regarded by the viewer as sexually arousing - is surely amongst the most universal and ancient of all paraphilias. Who doesn't enjoy responding to the erotic appeal of such pictures (be they openly pornographic in nature, or works that convey a sense of beauty with a greater degree of artistic sutblety); it stimulates us like sunshine on a grey day, as D. H. Lawrence would say [1].
Indeed, the only people who are genuinely repelled by such images and the natural stirring of sexual feeling are puritans and perverts who have fallen into hatred. And a certain type of feminist who deplores the fetishistic practice of pictophilia on the grounds that it's a form of what Rae Langton terms sexual solipsism and leads to treating real women as less interesting and less desirable than mere representations [2].
For Langton, and those who share her philosophical position, it is morally wrong to treat people as if they were objects; but it is also illicit to animate objects (including images) and treat them as sexual partners within the world of masturbatory fantasy. For when men begin to rely upon objects and images to gain sexual satisfaction, they invariably begin seeing and treating real women as objects and images.
Melinda Vadas takes this line of argument to its logical conclusion. She argues that if something can be used as a female sex object - even if it's just a photo in a magazine - then for all intents and purposes it is a female sex object and not merely a representation or substitute and that the way it is used (and abused) should therefore concern us.
Probably best, then, that neither of the above read Richard Matheson's astonishing 1956 novel The Shrinking Man, which contains one of literature's finest scenes of pictophilia (with added elements of macrophilia) ...
II.
Whilst fighting for his survival in the basement - threatened by starvation and a black widow spider - the now tiny figure of Scott Carey comes across an old magazine hidden behind some paint cans:
"On the cover was the photograph of a woman. She was tall, passably beautiful, leaning over a rock, a look of pleasure on her young face. She was wearing a tight red long-sleeved sweater and a pair of clinging black shorts cut just below the hips.
He stared at the enormous figure of the woman. She was looking at him, smiling. It was strange, he thought as he sat there, bare feet dangling in space. He hadn't been conscious of sex for a long time. His body had been something to keep alive, no more - something to feed and clothe and keep warm. His existence in the cellar [...] had been devoted to one thing, survival. All subtler gradations of desire had been lost to him. Now he had [...] seen the huge photograph of the woman.
His eyes ran lingeringly over the giant contours of her body, the high, swelling arches of her breasts, the gentle hill of her stomach, the long, curving taper of her legs.
He couldn't take his eyes off the woman. The sunlight was glinting on her dark auburn hair. He could almost sense the feeling of it, soft and silk like. He could almost feel the perfumed warmth of her flesh, almost feel the curved smoothness of her legs as mentally he ran his hands along them. He could almost feel the gelatinous give of her breasts, the sweet taste of her lips, her breath like warm wine trickling in his throat.
He shuddered helplessly [...] "Oh, God," he whispered. "Oh, God, God, God." There were so many hungers." [3]
It seems, then, that not only intelligence but also desire exists on an infinite scale or continuum; that just because a man shrinks in size - even if it be to a molecular level where he becomes-imperceptible - he can still get a hard on.
Notes
[1] D. H. Lawrence, 'Pornography and Obscenity', Late Essays and Articles, ed. James T. Boulton, (Cambridge University Press, 2004), p. 239. It should be noted, however, that Lawrence himself still objects to those images he regards as indecent and obscene; images that, in his view, do dirt on human sexuality and insult the body.
[2] Rae Langton. Sexual Solipsism: Philosophical Essays on Pornography and Objectification, (Oxford University Press, 2009).
For Langton, the production and consumption of pornographic images is an activity almost exclusively associated with heterosexual males which enables the subordination and silencing of women. She says very little about female produced porn aimed at women, or gay male porn. For an interesting critique of her work, see Andrew M. Koppelman, 'Another Solipsism: Rae Langton on Sexual Fantasy', Washington University Jurisprudence Review,
Volume 5 Issue 2
(2013): click here to access as a pdf.
[3] Richard Matheson, The Shrinking Man, (Gold Medal Books, 1956), Ch. 5.
Matheson's novel was adapted for the screen in 1957 as The Incredible Shrinking Man, dir. Jack Arnold, starring Grant Williams as Scott and Randy Stuart as his wife, Louise (as seen in the publicity photo above). The film, whilst a classic work of cinematic sci-fi, ignored many of the pervy aspects of the book which interest me here in this series of posts.
For part two of this series (on paedophilia), click here.
And for part three (on agalmatophilia), click here.
