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Beginning in the late 1950s, representations of and narratives about sex proliferated on French and U.S. movie screens. Cinema began to display forms of sexuality that were no longer strictly associated with domesticity nor limited to heterosexual relations between loving couples. Women’s bodies and queer sexualities became intensely charged figures of political contestation, aspiration, and allegory, central to new ways of imagining sexuality and to new liberal understandings of individual freedom and social responsibility. In Making Sex Public Damon R. Young tracks the emergence of two conflicting narratives: on the one hand, a new model of sex as harmoniously integrated into civic existence; on the other, an idea of women’s and queer sexuality as corrosive to the very fabric of social life. Taking a transatlantic perspective from the late '50s through the present, from And God Created Woman and Barbarella to Cruising and Shortbus, Young argues that cinema participated in the transformation of the sexual subject while showing how women and queers were both agents and objects of that transformation.
Beginning in the late 1950s, representations of and narratives about sex proliferated on French and U.S. movie screens. Cinema began to display forms of sexuality that were no longer strictly associated with domesticity nor limited to heterosexual relations between loving couples. Women’s bodies and queer sexualities became intensely charged figures of political contestation, aspiration, and allegory, central to new ways of imagining sexuality and to new liberal understandings of individual freedom and social responsibility. In Making Sex Public Damon R. Young tracks the emergence of two conflicting narratives: on the one hand, a new model of sex as harmoniously integrated into civic existence; on the other, an idea of women’s and queer sexuality as corrosive to the very fabric of social life. Taking a transatlantic perspective from the late '50s through the present, from And God Created Woman and Barbarella to Cruising and Shortbus, Young argues that cinema participated in the transformation of the sexual subject while showing how women and queers were both agents and objects of that transformation.
Publics and Counterpublics revolves around a central question: What is a public? The idea of a public is a cultural form, a kind of practical fiction, present in the modern world in a way that is very different from other or earlier societies. Like the idea of rights, or nations, or markets, it can now seem universal. But it has not always been so. Publics exist only by virtue of their imagining. They are a kind of fiction that has taken on life, and very potent life at that. Publics have some regular properties as a form, with powerful implications for the way our social world takes shape; but much of modern life involves struggles over the nature of publics and their interrelation. There are ambiguities, even contradictions in the idea of a public. As it is extended to new contexts and media, new polities and rhetorics, its meaning can be seen to change, in ways that we have scarcely begun to appreciate. By combining historical analysis, theoretical reflection, and extended case studies, Publics and Counterpublics shows how the idea of a public works as a formal device in modern culture and traces its implications for contemporary life. Michael Warner offers a revisionist account at the junction of two intellectual traditions with which he has been associated: public-sphere theory and queer theory. To public-sphere theory, this book brings a new emphasis on cultural forms, and a new focus on the dynamics of counterpublics. To queer theory, it brings a new way of seeing how queer culture (among other examples) is shaped by the counterpublic environment.
For many years, kisses were the only sexual acts to be seen in mainstream American movies. Then, in the 1960s and 1970s, American cinema “grew up” in response to the sexual revolution, and movie audiences came to expect more knowledge about what happened between the sheets. In Screening Sex, the renowned film scholar Linda Williams investigates how sex acts have been represented on screen for more than a century and, just as important, how we have watched and experienced those representations. Whether examining the arch artistry of Last Tango in Paris, the on-screen orgasms of Jane Fonda, or the anal sex of two cowboys in Brokeback Mountain, Williams illuminates the forms of pleasure and vicarious knowledge derived from screening sex. Combining stories of her own coming of age as a moviegoer with film history, cultural history, and readings of significant films, Williams presents a fascinating history of the on-screen kiss, a look at the shift from adolescent kisses to more grown-up displays of sex, and a comparison of the “tasteful” Hollywood sexual interlude with sexuality as represented in sexploitation, Blaxploitation, and avant-garde films. She considers Last Tango in Paris and Deep Throat, two 1972 films unapologetically all about sex; In the Realm of the Senses, the only work of 1970s international cinema that combined hard-core sex with erotic art; and the sexual provocations of the mainstream movies Blue Velvet and Brokeback Mountain. She describes art films since the 1990s, in which the sex is aggressive, loveless, or alienated. Finally, Williams reflects on the experience of screening sex on small screens at home rather than on large screens in public. By understanding screening sex as both revelation and concealment, Williams has written the definitive study of sex at the movies. Linda Williams is Professor of Film Studies and Rhetoric at the University of California, Berkeley. Her books include Porn Studies, also published by Duke University Press; Playing the Race Card: Melodramas of Black and White from Uncle Tom to O. J. Simpson; Viewing Positions: Ways of Seeing Film; and Hard Core: Power, Pleasure, and the “Frenzy of the Visible.” A John Hope Franklin Center Book November 424 pages 129 illustrations 6x9 trim size ISBN 0-8223-0-8223-4285-5 paper, $24.95 ISBN 0-8223-0-8223-4263-4 library cloth edition, $89.95 ISBN 978-0-8223-4285-4 paper, $24.95 ISBN 978-0-8223-4263-2 library cloth edition, $89.95
This book is about ardent Korean female fans of gay representation in the media, their status in contemporary Korean society, their relationship with other groups such as the gay population, and, above all, their contribution to reshaping the Korean media’s portrayal of gay people. Jungmin Kwon names the Korean female fandom for gay portrayals as “FANtasy” subculture, and argues that it adds to the present visibility of the gay body in Korean mainstream media, thus helping to change the public’s perspective toward sexually marginalized groups. The FANtasy subculture started forming around text-based media, such as yaoi, fan fiction, and U.S. gay-themed dramas (like Will & Grace), and has been influenced by diverse social, political, and economic conditions, such as the democratization of Korea, an open policy toward foreign media products, the diffusion of consumerism, government investment in the culture, the Hollywoodization of the film industry, and the popularity of Korean culture abroad. While much scholarly attention has been paid to female fandom for homoerotic cultural texts in many countries, this book seeks to explore a relatively neglected aspect of the subculture: its location in and influence on Korean society at large.
A groundbreaking contribution to the study of nontheatrical film exhibition, Carceral Fantasies tells the little-known story of how cinema found a home in the U.S. penitentiary system and how the prison emerged as a setting and narrative trope in modern cinema. Focusing on films shown in prisons before 1935, Alison Griffiths explores the unique experience of viewing cinema while incarcerated and the complex cultural roots of cinematic renderings of prison life. Griffiths considers a diverse mix of cinematic genres, from early actualities and reenactments of notorious executions to reformist exposés of the 1920s. She connects an early fascination with cinematic images of punishment and execution, especially electrocutions, to the attractions of the nineteenth-century carnival electrical wonder show and Phantasmagoria (a ghost show using magic lantern projections and special effects). Griffiths draws upon convict writing, prison annual reports, and the popular press obsession with prison-house cinema to document the integration of film into existing reformist and educational activities and film's psychic extension of flights of fancy undertaken by inmates in their cells. Combining penal history with visual and film studies and theories surrounding media's sensual effects, Carceral Fantasies illuminates how filmic representations of the penal system enacted ideas about modernity, gender, the body, and the public, shaping both the social experience of cinema and the public's understanding of the modern prison.
This volume brings together international scholars to engage in the question of how film has represented a figure that for many is simply labelled ‘prostitute’. The prostitute is one of the most enduring female figures. She has global historical resonance and stories, images and narratives surrounding her, and her experiences, circulate transnationally. As this book will explore, the broad term prostitute can cover a variety of experiences and representations that are both repressive and also have the potential to empower women and disrupt cultural expectations. The contributors aim to consider how frequently 19th-century narratives of female prostitution—hence the label ‘fallen women’—are still recycled in contemporary visual contexts, and to understand how widespread, and in what contexts, the destigmatization of female sex work is underway on screen.
(Sub)Urban Sexscapes brings together a collection of theoretically-informed and empirically rich case studies from internationally renowned and emerging scholars highlighting the contemporary and historical geographies and regulation of the commercial sex industry. Contributions in this edited volume examine the spatial and regulatory contours of the sex industry from a range of disciplinary perspectives—urban planning, urban geography, urban sociology, and, cultural and media studies—and geographical contexts—Australia, the UK, US and North Africa. In overall terms, (Sub)urban Sexscapes highlights the mainstreaming of commercial sex premises—sex shops, brothels, strip clubs and queer spaces—and products—sex toys, erotic literature and pornography—now being commonplace in night time economy spaces, the high street, suburban shopping centres and the home. In addition, the aesthetics of commercial and alternative sexual practices—BDSM and pornography—permeate the (sub)urban landscape via billboards, newspapers and magazines, television, music videos and the Internet. The role of sex, sexuality and commercialized sex, in contributing to the general character of our cities cannot be ignored. In short, there is a need for policy-makers to be realistic about the historical, contemporary and future presence of the sex industry. Ultimately, the regulation of the sex industry should be informed by evidence as opposed to moral panics. *** Winner of the Planning Institute of Australia (WA) 2015 Award for Excellence in Cutting Edge Research and Teaching ***
RAW addresses the question of sex without condoms, or barebacking, in the age of PrEP, a drug that virtually eliminates the transmission of HIV. Writing out of the history of the AIDS crisis, the authors in RAW expand the study of barebacking into new areas, such as its appearance within lesbian, heterosexual, and BDSM communities and its implications for teaching critical sexology.
Emily Witt is single and in her thirties. She has slept with most of her male friends. Most of her male friends have slept with most of her female friends. Sexual promiscuity is the norm. But up until a few years ago, she still envisioned her sexual experience achieving a sense of finality, 'like a monorail gliding to a stop at Epcot Center'. Like many people, she imagined herself disembarking, finding herself face-to-face with another human being, 'and there we would remain in our permanent station in life: the future'.But, as we all know, things are more complicated than that. Love is rare and frequently unreciprocated. Sexual acquisitiveness is risky and can be hurtful. And generalizing about what women want or don't want or should want or should do seems to lead nowhere. Don't our temperaments, our hang-ups, and our histories define our lives as much as our gender?In Future Sex, Witt captures the experiences of going to bars alone, online dating, and hooking up with strangers. After moving to San Francisco, she decides to say yes to everything and to find her own path. From public health clinics to cafe conversations about 'coregasms', she observes the subcultures she encounters with awry sense of humour, capturing them in all their strangeness, ridiculousness, and beauty. The result is an open-minded, honest account of the contemporary pursuit of connection and pleasure, and an inspiring new model of female sexuality - open, forgiving, and unafraid.