Distinct genres depicting nudity without ostensible or explicit sexual overtones.
naked among fellow secondary school pupils.
mation from Nazi-in hiding Kurt Dussander (Ian McKellan) on his experiences
showers — Todd has a delusionary minute where the other showering students
are viewed as starved and dying incarcerated Jews. This is an evident and
meaningful arena in the lm, one which is apparently designed to indicate the
Wounding effect of personal anecdotal and autobiographical records or narratives
of abuse, homicide and genocide. Yet, several of the showering extras directed a
Suit against director Bryan Singer and other crew members, claiming the naked
shoot subjected them to ‘sexual harassment, invasion of privacy, [and] bogus
Incarceration [on the set]’. The essential component in the legal claim was that Singer
to be a complete-edged queer’ (Cheevers and Ebner, 1998).
On the other hand, the vast majority of the plaintiffs’ claims — both legal and uttered during
media interviews — expressed the serious distress they believed being naked start.
As one plaintiff get it, ‘there was smoke men who had to stand on each side, and
all they did was sit there and look at you while they are pouring their smoke. It is
Essentially like all eyes are on you’ (Cheevers and Ebner, 1998).
media scandal, with several newspaper and television interviews being granted the
young plaintiffs and their lawyer, although the craze was originated somewhat
after several other extras disavowed the plaintiffs’ claims.
Post says that: ‘Several people present on the set denied that the crew eyed the
boys in a sexual way’ (Cheevers and Ebner, 1998), that is, they maintained that
the gaze was not a sexual gaze.
What’s fascinating about this case is not merely the ways the
accusation the manager and other crew members identied as gay is seen to
collapse homosexual identity into gay sexual conduct, but the wholesale collapse of
nudity into sexuality. One of many essential plaintiffs made the following statement
in a court document:
wife to see, and for us only. That’s not for the enjoyment of the queers on the set…. I
don’t enjoy being oogled [sic].
For this additional, nakedness as gazed-upon belongs only to Grosz’s framework number
two, the private or sexual context, thereby disintegrating the contexts that
protect the look of nakedness for the intent of showering, whether ‘for
real’ or on the set of a lm.
Where nakedness under the gaze of others is now more generally causing
anxiety, tension, shame or even horror, it strikes at the very stability of the self as
subject. If all subjective performativity is, as Butler (1990) shows, a citation of the
signier, then the instability of the signier of nakedness undermines the psychic
self as it’s constituted in and by culture. To put it differently, if nakedness can no
longer be determined and delineated clearly in particular sites and under particu-
lar gazes, then it risks destabilizing the performativity of the matter by intro-
ducing an anxiety-causing confrontation with unstable signiers. The instability of
the frameworks undermines the subject’s awareness of coherence and intelligibility, and the
Distress in nakedness can be seen to be a distress with the issue of what
nakedness is for.
Bathed in Sex — Reading as the Pornographic
legitimately, one involves a set of ritual and institutional power structures of
Changing types, in which the empowered (and normally clothed) subject is
Placed to perform a nonsexual gazing at an objectied nude body. This
Framework is most easily experienced in modern society by kids being
bathed, dressed or supervised by parents, guardians or older sibs, or by
patients being analyzed, prepared or operated on by physicians, surgeons and url . In the instance of of the child/parent relationship, we once again see a particu-
lar cultural anxiety that such a relationship is not always essentially non sexual
in the conditions of sexual given by contemporary culture.
and charged by authorities with ‘indecently recording . . . a child under thirteen years
by the taking of still photos’ (Bowles et al., 1998: 5).
The photographs were
depictions of her own naked sons, taken as part of a job in a photomedia
degree. Although the pictures used ancient poses — a conventional motif used by such