JUMP CUT
A REVIEW OF CONTEMPORARY MEDIA

 

 

Notes

[1] See, for example, Cowie and Renov. [return to page 1 of essay]

[2] As Gunning describes, until approximately 1906 actuality films outnumbered fictional films. It is this era of film culture that is central to his analysis.

[3] Muybridge’s well-known images of horses and other animals offered evidence of the nature of movement in ways that appealed to desire for new scientific knowledge and his projections were shown in lecture halls to interested audiences of the time. This focus on zoology soon came also to focus on the mechanic so the human body naked or semi-naked pictorial accounts of men, women and children performing short tasks and activities.

[4] See Kaplan, Rich or Williams.

[5] SBS Television (Special Broadcasting Service) is Australia’s smaller, second public service broadcaster with a charter that stipulates that SBS must work to meet the needs of culturally diverse viewing nation. [return to page 2 of essay]

[6] See Arthurs or Boyle for more discussion of “docuporn.”

[7] See McRobbie, Walkerdine et al., Attwood, Gill and Whelelan.

Works cited

Arthurs, Jane. Television and Sexuality: Regulation and the Politics of Taste. Maidenhead: Open University Press, 2004.

Ahmed, Sara. The Cultural Politics of Emotion. New York: Routledge, 2004.

Ashby, Justine. “Postfeminism in the British Frame.” Cinema Journal 44:2 (2005): 127-135.

Attwood, Feona. “Sexed Up: Theorizing the Sexualization of Culture.” Sexualities 9:1 (2006): 77-94.  

Boyle, Karen. “Courting Consumers And Legitimating Exploitation.” Feminist Media Studies 8:1 (2008): 35-50. 

Cowie, Elizabeth. “The Spectacle of Actuality.” Collecting Visible Evidence. Eds. Jane Gaines and Michael Renov. Minneapolis: University of Minnesota Press, 1999. 19-45.

Gill, Rosalind. “From Sexual Objectification to Sexual Subjectification: The Resexualisation of Women’s Bodies in the Media. Feminist Media Studies 3: 1 (2003): 100-105.

Grosz, Elizabeth. “The Body of Signification.” Abjection, Melancholia and Love: The Work of Julia Kristeva. Eds. John Fletcher and Andrew Benjamin. London: Routledge, 1990. 80-103.

Gunning, Tom. “Cinema of Attraction: Early Film, Its Specator and the Avant-garde.” Wide Angle 8:3-4 (1986): 63-70. 

---. “‘Now You See It, Now You Don’t’: The Temporality of the Cinema Of Attractions.” Velvet Light Trap Fall (1993): 3-13. 

Hansen, Christian, Catherine Needham and Bill Nichols. “Pornography, Ethnography and the Discourses of Power.” Representing Reality. Bill Nichols. Bloomington: Indiana University Press, 1991.

Holmlund, Chris. “Postfeminism from A to G.” Cinema Journal 44:2 (2005): 116-121.

Johnston, Claire. “Women's Cinema as Counter Cinema.” Notes on Women's Cinema. Ed. Claire Johnston, London: Society for Education in Film and Television, 1973.

Kaplan, E. Ann. “Pornography and/as Representation.” Enclitic 9 (1987): 8-19.

Kipnis, Laura. “(Male) Desire and (Female) Disgust: Reading Hustler.” Cultural Studies. Eds. Lawrence Grossberg, Cary Nelson and Paula Treichler. New York: Routledge, 1992. 373-391.

Kristeva, Julia. Powers of Horror. An Essay on Abjection. Trans. Leon S. Roudiez. New York: Columbia University Press, 1982.

Marks, Laura U. “Fetishes and Fossils: notes on Documentary and Materiality.” Feminism and Documentary. Eds. Diane Waldman and Janet Walker. Minneapolis: University of Minnesota Press, 1999. 224-244.

McNair, Brian. Striptease Culture: Sex, Media and the Democratisation of Desire. London: Routledge, 2002.

---. Mediated Sex: Pornography and Postmodern Culture. London: Arnold, 1996.

McRobbie, Angela. “Post-Feminism and Popular Culture.” Feminist Media Studies 4:3 (2004): 255-264.

Miller, Susan B. Disgust: The Gatekeeper Emotion. Hillsdale, NJ: Analytic Press, 2004.

Miller, William I. The Anatomy of Disgust. Cambridge: Harvard University Press, 1997.

Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Screen 16:3 (1975): 6-18.

Nichols, Bill. Representing Reality. Bloomington: Indiana University Press, 1991.

Paasonen, Susanna. “Strange Bedfellows: Pornography, Affect and Feminist Reading.” Feminist Theory 8:1 (2007): 43-57.

Rabinowitz, 1994. Paula. They Must Be Represented: The Politics of Documentary. London: Verso.

Renov, Michael. The Subject of Documentary. Minneapolis: University of Minnesota Press, 2004.

Rich, B. Ruby. “Anti-porn: Soft Issue, Hard World.” Feminist Review 13 (1983): 56-67.

Rose, Nikolas, Inventing Our Selves: Psychology, Power and Personhood. New York: Cambridge UP, 1996.

Russell, Catherine. Experimental Ethnography: The Work of Film in the Age of Video. Durham: Duke University Press, 1999.

Tasker, Yvonne and Diane Negra. “Postfeminism and the Archive for the Future.” Camera Obscura, 21: 2 (2006): 171-176

Walkerdine, Valerie, Helen Lucey and June Melody. Growing Up Girl: Psychosocial Explorations of Gender and Class. New York: New York University Press, 2001.

Whelehan, Imelda. Overloaded: Popular Culture and the Future of Feminism. London: Women’s Press Ltd: 2000.

Williams, Linda. “Porn Studies: Proliferating Pornographies On/Scene.” Porn Studies. Ed. Linda Williams. Durham: Duke University Press, 2004. 1-25.

---. Hard Core: Power, Pleasure, and the ‘Frenzy of the Visible’. Berkeley: U of California P, 1989.


To topPrint versionJC 51 Jump Cut home

Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 2.5 License.