What does it suggest to be bare in public? drawing close this query from around the disciplines, this booklet examines the evolution of girl exhibitionism from legal taboo to prime-time leisure. Taking an interdisciplinary process which brings jointly all fields of pop culture, together with literature, media, movie and linguistics, Claire Nally and Angela Smith provide an exam of gendered exhibitionism from the mid-twentieth century to the current day. They ask even if physically publicity presents the liberation it professes to or restricts our so much mystery selves to the sanitised realm of socially-sanctioned gender roles. From the paintings of burlesque as a riotous nation of the mind's eye to truth television which is helping ladies to unearth their 'true' and buried female selves, Nally and Smith discover how the severe background and thought of exhibitionism intersects with the broader circulation in the direction of gender equality. analyzing results of second-wave feminism to problematise the bare lady shape, lady and gender-transgressive performers from Bette Davis to Dita von Teese are put of their cultural context.
In order to illustrate that woman exhibitionism reamins on the middle of pop culture, this ebook additionally examines the works of Peter Ackroyd and the debatable playwright Sarah Kane, uncovering the contradictions in the back of evolving representations of public publicity. inside a post-feminist framework, the cultural buildings in the back of the repackaging of girl exhibitionism are explored and the prominence of physically publicity in pop culture tested, besides the results of these artists who practice gender as a public masquerade. ultimately, hit television exhibits 'Ladette to Lady' and 'How to appear solid Naked' are interrogated to show the buried contradictions at the back of this public unveiling: are ladies seizing keep an eye on in their personal id, or is that this revelation an phantasm? cutting edge, unflinching and pertinent, 'Naked Exhibitionism' explores bare our bodies within the public gaze and significantly reformulates the feminist and cultural debate round the functionality of gender.
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Extra info for Naked Exhibitionism: Gendered Performance and Public Exposure
Prior to Beyond the Forest she appeared as a member of the supporting cast in Fredric March’s Another Part of the Forest (December 1948) and Ronald Regan and Virginia Mayo’s The Girl from Jones Beach (July 1949). 11. , heterosexuality) against which subjects constitute their identity. In so doing, identity is founded as a process of repudiation ‘through the force of exclusion and abjection’ (Judith Butler 1993: 3). 12. Ed Sikov has described Bette Davis’s Rosa Moline of Beyond the Forest as a ‘hearty appetizer served before the main course of Baby Jane Hudson’ (Ed Sikov 2007: 276).
Kappeler, in The Pornography of Representation, ventures that what she calls the ‘pornographic scenario’, in which women are invariably objectified and dominated, underpins all forms of representation (Susanne Kappeler 1986: 103). Consequently, not only pornography but all art and literature become complicit in reproducing and perpetuating oppressive structures of power. Kappeler concludes that the committed feminist critic must give up her ‘aspiration to the status of artist’ and recognise ‘no sanctuaries from political reality, no aesthetic or fantastic enclaves, no islands for the play of desire’ (Susanne Kappeler 1986: 146, 147).
The over-determination of Davis’s body in Beyond the Forest suggests that the grotesque is a concept central to understanding this film. Russo, moreover, recognises the associations of the female body with ‘degradation, filth, death, and rebirth’, stating that, ‘The images of the grotesque body are precisely those which are abjected from the bodily canons of classical aesthetics’ (Mary Russo 1994: 8). When Russo states that ‘[t]he classical body is transcendent and monumental, closed, static, self-contained, symmetrical, and sleek’, she could be describing the bodies of Hollywood’s legendary leading ladies of the studio era: for instance, Greta Garbo, Katharine Hepburn or Joan Crawford (Mary Russo 1994: 8).