This is part of a recent wave of academic studies on porn, a collection of papers/articles by supposed learned scholars but the selection is not as pointed as one might like, or as near to the edge as it should be in 2012.
Most selections seem to be surveys rather than true insightful investigations into trends or positions that some pornographers take. Boyle's discussion of "authenticity" takes Max Hardcore as the case study, a rich but limited example, and a long article on the "Pirates" (2005) porn hit tries to make more of its timed release to Disney's Pirates of the Caribbean movies than is there (come on guys, it's really just a Digital Playground rip-off. Just because it was successful does not mean it's particularly ground-breaking).
I thought a couple of later articles, including fashion in porn (Gibson and Kirkham's "Fashionably Laid") opened up new areas, and Johnson's discussion of "Shortbus" as well as Smith's "Reel Intercourse" address the authenticity of visual depiction of sex on-screen that Boyle doesn't come near. The book ends with 2 pieces on both gay pornography and lesbian porn, seemingly more an attempt to invite everyone in the tent. The lesbian piece (by Beirne) interrogates the shift from a presumed male gaze and is most interesting if dense in its analysis of Williams and Mulvey's earlier discourse on how the camera 'genders' events.
The introduction addresses how the Internet has democratized and personalized porn consumption, a topic of how people access the material on their own, in private, on their own terms, that lies only on the outskirts of this collection. The book seems more interested in porn from an earlier age, and there are no articles on the impact of VHS or DVD consumption (the '80s and '90s) and how that reconfigured film-based "movie theatre" porn into "home viewing" porn. No discussion of how production changed the content or the consumption. (The subtitle, "Hard-core Pornography On Screen" may lead you to believe the book is interested in projected or the theatrical era - it is not.)
Warning - some writers have forgone a basic level of factchecking. McNair's opening piece on porn in popular culture contains fatal factual errors that undermine any confidence in the rigor of his research: Rod Steiger was not in "Hardcore" (1979); George C. Scott was. "The Idiots" (1998) was not the first Dogme film (although it was von Trier's first under the Dogme rules). Breillat's "Romance" (1999) should not be defined as her first film to explore feminine sexuality - she was exploring this realm as early as 1976's "A Real Young Girl."
A niggling lack of insight or breaking ground makes this collection less than seminal. It does little to tie the video age ('80s, Max Hardcore era, etc.) to current trends. There are gems of insight here, but the field is still struggling with a not entirely cutting-edge level of discourse.