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Brutal Intimacy is the first book to explore the fascinating films of contemporary France, ranging from mainstream genre spectaculars to arthouse experiments, and from wildly popular hits to films that deliberately alienate the viewer. Twenty-first-century France is a major source of international cinema—diverse and dynamic, embattled yet prosperous—a national cinema offering something for everyone. Tim Palmer investigates France's growing population of women filmmakers, its buoyant vanguard of first-time filmmakers, the rise of the controversial cinema du corps, and France's cinema icons: auteurs like Olivier Assayas, Claire Denis, Bruno Dumont, Gaspar Noé, and stars such as Vincent Cassel and Jean Dujardin. Analyzing dozens of breakthrough films, Brutal Intimacy situates infamous titles alongside many yet to be studied in the English language. Drawing on interviews and the testimony of leading film artists, Brutal Intimacy promises to be an influential treatment of French cinema today, its evolving rivalry with Hollywood, and its ambitious pursuits of audiences in Europe, North America, and around the world.
Communal Intimacy and the Violence of Politics explores the notoriously brutal Philippine war on drugs from below. Steffen Bo Jensen and Karl Hapal examine how the war on drugs folded itself into communal and intimate spheres in one Manila neighborhood, Bagong Silang. Police killings have been regular occurrences since the birth of Bagong Silang. Communal Intimacy and the Violence of Politics shows that although the drug war was introduced from the outside, it fit into and perpetuated already existing gendered and generational structures. In Bagong Silang, the war on drugs implicated local structures of authority, including a justice system that had always been deeply integrated into communal relations. The ways in which the war on drugs transformed these intimate relations between the state and its citizens, and between neighbors, may turn out to be the most lasting impact of Duterte's infamously violent policies.
Real Sex Films explores one of the most controversial movements in international cinema through theories of globalization and embodiment.
"A warm and expansive portrait of a woman’s mind that feels at once singular and universal," this collection of essays interweaves commentary on modern life, feminism, art, and sex with the author's own experiences of obsession, heartbreak, and vulnerability (BuzzFeed). Like a song that feels written just for you, Larissa Pham's debut work of nonfiction captures the imagination and refuses to let go. Pop Song is a book about love and about falling in love—with a place, or a painting, or a person—and the joy and terror inherent in the experience of that love. Plumbing the well of culture for clues and patterns about love and loss—from Agnes Martin's abstract paintings to James Turrell's transcendent light works, and Anne Carson's Eros the Bittersweet to Frank Ocean's Blonde—Pham writes of her youthful attempts to find meaning in travel, sex, drugs, and art, before sensing that she might need to turn her gaze upon herself. Pop Song is also a book about distances, near and far. As she travels from Taos, New Mexico, to Shanghai, China and beyond, Pham meditates on the miles we are willing to cover to get away from ourselves, or those who hurt us, and the impossible gaps that can exist between two people sharing a bed. Pop Song is a book about all the routes by which we might escape our own needs before finally finding a way home. There is heartache in these pages, but Pham's electric ways of seeing create a perfectly fractured portrait of modern intimacy that is triumphant in both its vulnerability and restlessness. "Each of the essays in this debut collection reads like a mini-memoir . . . in which the author reflects on her experiences of young love, trauma, and transcendence through discussions of art and music . . . with an intimacy that is at once tender and expansive." —New York magazine
This book forms part of the multi-disciplinary Studies in Ethics Series from Liverpool Hope University. It explores the slipperiness of ethics as a concept and demonstrates the multiplicity of intellectual inquiry within contemporary Film Studies. At first glance, ‘ethics’ is not necessarily a subject conventionally associated with film. Film is often regarded as a form of ‘lowbrow’ popular culture, either offering bland entertainment or deliberately setting out to shock – or, more cynically, generate box office revenue – through gratuitous inclusion of sex and violence. Certainly, there have always been a minority of films based on the stereotypically ‘ethical’ subject of religion, but these have often generated the most controversy, from the studio system decree that it was blasphemous to represent the corporeal body of Christ to the furore surrounding Martin Scorsese’s The Last Temptation of Christ (1988). This book shows that from the silent era to the present day, film has been inherently concerned with ethical issues. In this light, the definition of ethics that informs the volume and is taken as the starting point of each of the chapters is the notion of personal or institutional motivation; most usually because a character or industry figure makes a decision or choice based on their own moral – or ethical – code. Once this is defined, the ethical dimension to films is immediately evident. This book takes as its central theme the difficulty of decisions refracted through personal ethical codes, and thus recognises that what counts as ethics, or morality, is always subjective. Some of the chapters explore films which take conventionally ‘good’ ethical standpoints, others investigate why ‘bad’ decisions were made; at least one explores the celebration of practices invoking popular disgust, but all the contributions study ethical decisions within film that represent the strongly felt convictions of those involved and, moreover, address aspects of filmmaking which force the spectator to be an active and reciprocal participant in the creation of meaning, thus implicitly acknowledging that ethics are subjective and in perpetual flux rather than fixed, objective truths.
This edition contains three studies which seem to me to be necessary prolegomena to that analysis of the sexual instinct which must form the chief part of an investigation into the psychology of sex. The first sketches the main outlines of a complex emotional state which is of fundamental importance in sexual psychology; the second, by bringing together evidence from widely different regions, suggests a tentative explanation of facts that are still imperfectly known; the third attempts to show that even in fields where we assume our knowledge to be adequate a broader view of the phenomena teaches us to suspend judgment and to adopt a more cautious attitude. So far as they go, these studies are complete in themselves; their special use, as an introduction to a more comprehensive analysis of sexual phenomena, is that they bring before us, under varying aspects, a characteristic which, though often ignored, is of the first importance in obtaining a clear understanding of the facts: the tendency of the sexual impulse to appear in a spontaneous and to some extent periodic manner, affecting women differently from men. This is a tendency which, later, I hope to make still more apparent, for it has practical and social, as well as psychological, implications. Here—and more especially in the study of those spontaneous solitary manifestations which I call auto-erotic—I have attempted to clear the ground, and to indicate the main lines along which the progress of our knowledge in these fields may best be attained.
This edition contains three studies which seem to me to be necessary prolegomena to that analysis of the sexual instinct which must form the chief part of an investigation into the psychology of sex. The first sketches the main outlines of a complex emotional state which is of fundamental importance in sexual psychology; the second, by bringing together evidence from widely different regions, suggests a tentative explanation of facts that are still imperfectly known; the third attempts to show that even in fields where we assume our knowledge to be adequate a broader view of the phenomena teaches us to suspend judgment and to adopt a more cautious attitude. So far as they go, these studies are complete in themselves; their special use, as an introduction to a more comprehensive analysis of sexual phenomena, is that they bring before us, under varying aspects, a characteristic which, though often ignored, is of the first importance in obtaining a clear understanding of the facts: the tendency of the sexual impulse to appear in a spontaneous and to some extent periodic manner, affecting women differently from men. This is a tendency which, later, I hope to make still more apparent, for it has practical and social, as well as psychological, implications. Here—and more especially in the study of those spontaneous solitary manifestations which I call auto-erotic—I have attempted to clear the ground, and to indicate the main lines along which the progress of our knowledge in these fields may best be attained._x000D_ _x000D_ _x000D_
Relationships are incredibly rewarding, but the truth is that they require a lot of hard work. If you want lasting love, you absolutely have to put some effort in. This book, which explores the more practical aspects of building a life with the person you love, will resonate with couples ready to embrace honesty in the name of strengthening their bond and anyone else committed to understanding intimacy for what it really is.
Reproduction of the original: Studies in the Psychology of Sex by Havelock Ellis
Sexual inversion, as here understood, means sexual instinct turned by inborn constitutional abnormality toward persons of the same sex. It is thus a narrower term than homosexuality, which includes all sexual attractions between persons of the same sex, even when seemingly due to the accidental absence of the natural objects of sexual attraction, a phenomenon of wide occurrence among all human races and among most of the higher animals. It is only during recent years that sexual inversion has been recognized; previously it was not distinguished from homosexuality in general, and homosexuality was regarded as a national custom, as an individual vice, or as an unimportant episode in grave forms of insanity.[1] We have further to distinguish sexual inversion and all other forms of homosexuality from another kind of inversion which usually remains, so far as the sexual impulse itself is concerned, heterosexual, that is to say, normal. Inversion of this kind leads a person to feel like a person of the opposite sex, and to adopt, so far as possible, the tastes, habits, and dress of the opposite sex, while the direction of the sexual impulse remains normal. This condition I term sexo-esthetic inversion, or Eonism. The nomenclature of the highly important form of sexual perversion with which we are here concerned is extremely varied, and most investigators have been much puzzled in coming to a conclusion as to the best, most exact, and at the same time most colorless names to apply to it. The first in the field in modern times was Ulrichs who, as early as 1862, used the appellation "Uranian" (Uranier), based on the well-known myth in Plato's Banquet. Later he Germanized this term into "Urning" for the male, and "Urningin" for the female, and referred to the condition itself as "Urningtum." He also invented a number of other related terms on the same basis; some of these terms have had a considerable vogue, but they are too fanciful and high-strung to secure general acceptance. If used in other languages than German they certainly should not be used in their Germanized shape, and it is scarcely legitimate to use the term "Urning" in English. "Uranian" is more correct.