The growing evidence of harm caused by pornography calls for interventions to counteract the influence of explicit sexual media. Fireproof Ministries conducts a major Christian anti-pornography campaign called XXXchurch. This case analysis of the campaign evaluated if the messages were appropriately designed in light of what persuasion research has discovered about motivating attitudinal and behavioral change. Theories about agenda setting, attitude accessibility, exemplars, evidence, cognitive dissonance, guilt, reactance, fear appeals, and self-efficacy were the basis of identifying the themes of the campaign, evaluating the credibility of XXXchurch, and assessing the theoretical foundation of the campaign. The study found three dominant objectives of the campaign: awareness, prevention, and recovery. XXXchurch has set the pornography agenda in many Christian churches, and also brings the issue to a wider public through news media; they have been featured in thousands of media publications and broadcasts. XXXchurch measures their own success by the stories and feedback they hear from their audience, the media attention they receive, and their increased acceptance by churches. The three main groups of themes in the messages of the campaign are prevention and recovery, the harm of pornography, and how God's purposes for life are impacted by pornography. These themes are essentially persuasive messages encouraging people to consider the negative consequence of using pornography and the benefits of resisting it. The attitudes influenced through these messages are the precursors to taking action to overcome pornography. The XXXchurch campaign establishes credibility with their audience through six elements: (a) prior experience or perceptions, (b) credentials, competence, and expertise (c) honesty and lack of bias, (d) similarity to the audience, (e) bold, confident delivery, and (f) plausible messages. Examples of self-efficacy, exemplars, and fear appeals were the most frequently found theories in the campaign messages. Persuasion theories functioned as useful tools for analyzing and understanding the campaign. Although the XXXchurch team did not design the campaign with these theories in mind, the theories strongly explain the foundation of the campaign. Taken as a whole, the campaign clearly demonstrates research-based principles, which suggest a prediction of successfully influencing attitudes and behavior.

Given feminists’ longstanding concerns about the ideological effects of media images, and prompted by the lack of, but continued need for, feminist activism today, some feminist scholars have become increasingly interested in how popular media shape public understandings of feminism, represent its issues, and define its history. Communication scholars also appreciate that both media texts and social movements are produced and received within particular historical contexts, and that controversies over either are discursive sites in which cultural and political values clash and their meanings are negotiated. During the 1970s, second-wave feminism, especially its radical wing, was a controversial movement which threatened to disrupt basic relations between women and men and, therefore, has been much maligned by men, women, anti-feminists, and a new generation of self-proclaimed feminists. Yet, the second wave is often portrayed inaccurately. This dissertation thus reviews key works, theories, and events associated with radical feminism as well as the debates between it and other schools of feminist thought–liberal, Marxist/socialist, psychoanalytic, cultural, and various ‘new’ feminisms. Then, employing a context-sensitive form of ideological criticism, I examine three films, their promotional strategies, their mainstream critical and scholarly receptions, and how these elements converged with particular feminist discourses within their shared historical contexts. Specifically, I investigate why the horror films Rosemary’s Baby (1968), I Spit on Your Grave (1978), and Snuff (1976)–which each featured an exposed, vulnerable, violated, or ‘monstrous’ female body–became objects of controversy when they tapped into the contemporaneous feminist issues of reproduction, rape, and pornography, respectively, and how the films’ receptions reveal ways in which people have made sense of feminism and its issues. I contend that these controversies, both individually and when viewed as a series, were symptomatic of the hegemonic negotiations of second-wave feminism and its attempts to publicize discourses about sex, violence, and the female body, negotiations which were occurring both inside and outside the women’s movement. Through these controversial cases, then, we can see feminism’s transformation–from an active movement which criticized the structures of women’s oppression to a discursive and primarily academic enterprise focused more on criticizing itself. / text