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A different version of this article is published in Nora, Nordic Journal of Women’s Studies 2007.

1. All quoted material from Norwegian is translated by me.

2. Even if mainstream commercial heterosexual pornography is easily generically identifiable, this does not imply that pornography as such is a stable representational system; rather research shows that pornography is not a fixed category, dependent of genre, production and consumption. For example, its producers may be categorized as queer, independent, or as part of some other subculture (Williams 1989, Snitow 1983, Attwood 2002).

3. Pornography is still central in the regulation of all forms of sexual representation in the mass media today. It is the difference between sexual representations and conceptions of pornography that does, in the end, legitimize the circulation of sexual and erotic texts in the mainstream media. The condition for the presence of media-representations in for instance prime time television is that they avoid explicit pornographic connotations (Arthurs 2004).

4. In postfeminist representations, sexuality and sexualized aesthetics play a decisive part. Popular postfeminist representations are therefore part of sexualisation as a broad cultural trend. Postfeminism as a label is used, on the one hand, as a descriptive category for popular culture representations and, on the other hand, as an academic label tied to postmodern/poststructuralist theorizing. Whereas popular sexual representations in mainstream culture often are seen as antifeminist backlash, academic postfeminism is often seen as progressive. See Deborah Siegel (1997) for an analysis of these two versions, Ann Brooks (1997) for an analysis of theoretical postfeminism, Imelda Whelehan (2000) for an analysis of popular media-postfeminism and Stéphanie Genz (2006) for an analysis of the political implications of postfeminism.

5. The Norwegian sociologist Kjetil Rolnes is an exeption in Norway with his book Sex, løgn og videofilm (Sex, lies and videofilm)(Rolnes 2003) He is taking a classical pro-pornography stand. The book is not about sexualisation in mainstream culture though and the arguments are not informed by perspectives within gender and feminist research. In Denmark there exists an organization: www.seksualpolitik.dk, which aims at liberalization of sexual politics in Denmark in opposition to much of the feminist academic debate in Denmark.

6. In her article “Third way/ve. The Politics of postfeminism” Stéphanie Genz shows the interconnections between third wave feminism and postfeminism, underlining that both these feminist strategies are informed by postmodern theorizing, breaking free of identity politics, situating themselves within popular culture and joining ‘unpure’ politics (Genz 2006).

7. In 1999 the Norwegian anthology RåTekst. Overlevelsesbok (Raw text. A book of survival) . (Solheim et al. eds. 1999), which has a similar young- and new-feminist perspective in a Norwegian context, was published. That year also witnessed the publication of Matriark. Nesten sanne historier om å være kvinne (The matriarch. Almost true stories about being a woman) (Sandnes et al. eds.). In the wake of this new cultural feminism, the feminist cultural magazine Fett (Fat) was established in Norway in 2004. This is a corollary to the wellestablished Swedish magazine Bang. In 2004 Bang published a book on new-feminism which was a collaboration between all the Nordic countries: Femkamp: Bang om nordisk feminism (Femi-fight. Bang on Nordic feminism)(Edelmo & Westerlund 2004). Denmark followed suit. In Denmark the anthologies Nu er det nok – så er det sagt (Now we’ve had enough – then it has been said) (Goth et.al. (Eds) 2000), Fem@il (Kraul (Ed) 2000), De røde sko. Feminisme nu (The red shoes. Feminism now (Skov (Ed) 2002), Udslag: hverdagsfeminisme i det 21. århundrede (Everyday-feminism of the 21st century) (Bom et.al. (Eds) 2002) and, interestingly, two anthologies by young feminist men who confronted masculine ideals and feminism’s lack of inclusion of men in the anthologies Pikstormerne (The cock-stormers)(Sørensen (Ed) 2000) and Hvordan mand (Being a man)(Holm et al. (Eds) 2000) were published. In contrast to this, Finland seems not to have experienced a similar new-feminist wave (Paasonen 2007, 38).

8. Morgenbladet, Klassekampen and Ny tid.

9. Samtiden, Prosa and Syn og Segn.

10. Ingunn Økland (Aftenposten), Marit Eikemo (Klassekampen), Inger Bentzrud (Dagbladet), Cathrine Krøger (Dagbladet) and Susanne Christensen (Morgenbladet)

11. These arguments also occurred repeatedly in the critical receptions of the other new-feminist anthologies in Scandinavia.

12. Although fuck-buddies and similar terms have been used in English, pulevenner is a new Norwegian construction.