Download Cinema, Pain and Pleasure: Consent and the Controlled Body by Steven Allen PDF
By Steven Allen
From Tattoo to observed, this e-book considers mainstream cinema's illustration of the viscerally ruled and marked physique. analyzing a shift within the overdue 20th century to narratives that spotlight subjection, patience and willed-acquiescence, it probes the confluence of ache, excitement and consent to examine the consequences of the swap.
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Additional info for Cinema, Pain and Pleasure: Consent and the Controlled Body
Gebhard’s opinion, BDSM ‘has its origin in the norms and values of the larger social environment, rather than being an expression of idiosyncratic individual pathology’ (1983b, 74). BDSM can therefore extract its scenarios from all these norms and values, 28 Cinema, Pain and Pleasure thus control is coded in many forms. For example, a BDSM scenario or ‘scene’ may include a man being ordered to crawl around on all fours and eat from a dog bowl, or a woman dressed as a pony and being made to pull a cart.
With the preponderance of bottoms in heterosexual BDSM relationships being male, and the archetypal dominatrix defined by her femininity, whether by being described by Sacher-Masoch as a goddess with ‘a graceful and poetic figure’ (1989, 158) or witnessed in popular culture encased in figure-hugging leather and wearing high heels, it is difficult to regard the dominance as male. More universally, the very flexibility of who is top and who is bottom in BDSM relationships reveals the arbitrary nature of defining active as male and passive as female.
The transition is uncomfortable for the spectator, for ‘Lucia’s dance implies too open an acknowledgement of the masochistic desire of the female subject, and by extension the male subject who identifies with her pain’ (1980, 5). By the male subject, Silverman is referring to Max, who, through being disassociated from the gaze he had previously held via his camera, is as excluded as Lucia, and has become fascinated by her pain rather than his own sadism. ]’ (1980, 6) because it contests the superiority of the active masculine position.