Affronting Stardom/Confronting Sexual Violence

IF 0.1 3区 艺术学 0 FILM, RADIO, TELEVISION
Lynne Joyrich
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引用次数: 4

Abstract

Recently, there has been an explosion of charges of sexual violence and assault within the worlds of media, journalism, and entertainment, with female stars leading the way in making these charges of sexual misconduct public. Indeed, stars—located at precisely the boundaries of “public” and “private,” working at the intersection of libidinal and financial economies, marked as both “individuals” and “representatives,” figured as both “bodies” and “voices”—provide a powerful locus for both the explosion and exposure of sexual violence, which operates through and across those same categories (as, for example, definitions of sexual violence depend upon particular understandings of the connections or disconnections between bodily events and consciousness of consent or its refusal, between the “outside and the “inside,” between action and affirmation). Given confusions and conflations of these categories, sexual assault and harassment in entertainment industries have paradoxically been both presumed and disavowed, routinized and rejected, made invisible and spectacularized in ways that help to reveal the troubling dynamics of sexual violence and the “troubles” of stardom itself. This piece explores those dynamics, considering how public discourse around these scandals may help us interrogate the problems of both celebrity and sexual violence.
侮辱明星/面对性暴力
最近,在媒体、新闻和娱乐界,性暴力和性侵犯的指控激增,女明星带头将这些性行为不端的指控公之于众。事实上,明星们——位于“公共”和“私人”的边界,在性欲和金融经济的交叉点工作,同时被标记为“个人”和“代表”,作为“身体”和“声音”——为性暴力的爆发和曝光提供了一个强大的场所,它通过这些相同的类别运作(例如,性暴力的定义取决于对身体事件与同意或拒绝意识之间的联系或断开的特定理解,在“外部”和“内部”之间,在行动和肯定之间)。考虑到这些类别的混乱和混淆,娱乐界的性侵犯和性骚扰既被假定又被否认,既被常规化又被拒绝,既被忽视又被放大,这种方式有助于揭示性暴力的令人不安的动态和明星本身的“麻烦”。这篇文章探讨了这些动态,考虑到围绕这些丑闻的公共话语如何帮助我们质疑名人和性暴力的问题。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CAMERA OBSCURA
CAMERA OBSCURA FILM, RADIO, TELEVISION-
CiteScore
0.30
自引率
0.00%
发文量
12
期刊介绍: Since its inception, Camera Obscura has devoted itself to providing innovative feminist perspectives on film, television, and visual media. It consistently combines excellence in scholarship with imaginative presentation and a willingness to lead media studies in new directions. The journal has developed a reputation for introducing emerging writers into the field. Its debates, essays, interviews, and summary pieces encompass a spectrum of media practices, including avant-garde, alternative, fringe, international, and mainstream. Camera Obscura continues to redefine its original statement of purpose. While remaining faithful to its feminist focus, the journal also explores feminist work in relation to race studies, postcolonial studies, and queer studies.
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