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. interpreting a shift within the overdue 20th century to narratives that spotlight subjection, persistence and willed-acquiescence, it probes the confluence of soreness, excitement and consent to examine the consequences of the swap.

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Amanda Donohoe, in Ken Russell’s tongue-in-cheek The Lair of the White Worm (1988), stands astride a boy scout in her heavily codified black PVC catsuit and leather thigh boots, before paralysing him by biting his penis. In David Cronenberg’ Dead Ringers (1988), hospital settings and props, including foot stirrups, fetishized medical implements and highly theatrical red surgical gowns, accentuate the sense of BDSM framings. In one scene, tied up with rubber tubing and medical clamps, a woman 38 Cinema, Pain and Pleasure takes part in BDSM sex; the scene doubles an earlier gynaecological examination, dissolving the boundary between the sexualized body and the medicalized body (also true of Romance).

What this suggests is that BDSM is an intertwining of power structures, often involving oscillations. Thus, it validates Michel Foucault’s assertion that power is not held it exists as a network of relationships (1979, 1981). The individual strands of the network are the sadism and the masochism, whilst the dynamic of the controlled body is the network. My discussion may seem to have moved away from BDSM in the movies, but the subculture needs to be revealed to show what is explored BDSM at the Movies 29 and what is hidden in mainstream cinema.

In such an environment of innocence, Lee undertakes her adventure. The fantastical is also suggested by her winning back Mr Grey’s affections by remaining at his desk for several days (whilst friends and television reporters visit). Similarly, Romance is criticized for depicting Maria (Caroline Ducey) longing to meet Jack the Ripper and for her BDSM partner being a Don Juan figure (Vincendeau 1999, 52). BDSM scenarios rely on such notions already in circulation within the wider culture to give them their charge, so recycling is natural.

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