This political movement impacted photography as an artform because of its links with law and evidence, Dillard S. Gardner argues the public saw photos as “the very highest type of evidence”. In her work ‘"Models of Integrity: Art and Law in Post-Sixties America’" Joan Kee argues artist, such as Mann and Jacqueline Livingston, were under heighted scrutiny. The passing of child pornography regulations meant film developers could withhold material they deemed immoral; with feminist such as, Andrea Dworkin and Catherine Mackinnon arguing for the censorship of pornography. However, academics such as Connie Samaras criticise complaints from feminist groups, like women against pornography (WAP), about Mann’s work arguing “nakedness, even if it suggests lawlessness… has central meaning to many people's lives for a wide variety of legitimate reasons.”