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introduction on paris is burning
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Paris is Burning
We recently watched the film Paris is Burning, a documentary about black drag queens in Harlem and their culture surrounding balls. Directly related we also read two feminist critiques, Gender is Burning: Questions of Appropriation and Subversion by Judith Butler and Is Paris Burning by bell hooks. Two areas of critique I focus on and question are the critiques regarding the filmmaker, audience and drag queens and how they participate to reinforce a heterosexual racist patriarchy. Furthermore I ask if this line of investigation is the most beneficial way to view and understand the film and its various participants.
By dissecting the film, the director, Jennie Livingston's methodology and the audience's perceived response I believe we can easily ignore a different and more positive way of understanding the film despite the many flaws easy for feminist minds to criticize. This is in no way saying that these critiques are not valid, or that it is not beneficial to look at works of any form through the many and various feminist lenses.
However, one cannot lose sight of the humanity within the film. The spectacles of the balls themselves intimately show a mirage of human emotions including passion, desire, joy, humor, grace, and delight. The featured men willingly share the pleasure they feel through participation in the balls with us, the watching audience. They attempt to describe the exhilaration of being able to "become anything and do anything." (1.)
We, the audience, are entertained and interested by the interviews, the balls and the featured persons. bell hooks sees audience enjoyment as exploitative and says, "...It is this current trend in producing colorful ethnicity for the white consumer appet...
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...f nobody could say or write or film or paint anything about anybody else but themselves and their exact demographic group. What a dull fucking world that would be." (8.)
Citations
1. Dorian Carey. "Paris is Burning"
2. bell hooks. "Black Looks". Pg 153 & 154.
3. bell hooks. "Black Looks". Pg 153
4. Judith Butler. "Bodies That Matter". Pg 136
5. Judith Butler. "Bodies That Matter". Pg 135 & 136
6. bell hooks. "Black Looks". Chapter 9
7. Dorian Carey. "Paris is Burning".
8. Ed Sikov. Email commentary in regards to "Paris is Burning".
Bibliography
Butler, Judith. "Bodies That Matter: On the Discursive Limits of 'Sex'". New York. Routledge. 1993
hooks, bell. "Black Looks: Race and Representation". Boston, MA. South End Press. 1992
Livingston, Jennie. "Paris is Burning". Los Angeles. Off White Productions. Distributed by Orion Home Video. 1992
In Visual Pleasure and Narrative Cinema, Mulvey states that, “Traditionally, the woman displayed has functioned on two levels: as erotic object for the characters within the screen story, and as erotic object for the spectator within the auditorium, with a shifting tension between the looks on either side of the screen.” (Mulvey 40). A woman’s role in the narrative is bound to her sexuality or the way she
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As women's studies programs have proliferated throughout American universities, feminist "re-readings" of certain classic authors have provided us with the most nonsensical interpretations of these authors' texts. A case in point is that of Kathleen Margaret Lant's interpretation of Tennessee Williams' A Streetcar Named Desire in her essay entitled "A Streetcar Named Misogyny." Throughout the essay, she continually misreads Williams' intention, which of course causes her to misunderstand the play itself. Claiming that the play "has proved vexing to audiences, directors, actors, readers, and critics" (Lant 227), she fails to see that it is she herself who finds the play vexing, because it does not fit nicely into the warped feminist structure she would try to impose upon it.
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...ing: Questions of Appropriation and Subversion." Bodies That Matter: On the Discursive Limits of "Sex." 121-156.New York: Routledge, 1993.
Hamlet's "To be, or not to be" soliloquy is arguably the most famous soliloquy in the history of the theatre. Even today, 400 years after it was written, most people are vaguely familiar with the soliloquy even though they may not know the play. What gives these 34 lines such universal appeal and recognition? What about Hamlet's introspection has prompted scholars and theatregoers alike to ask questions about their own existence over the centuries?
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The representation of violence exacted upon women in cinema is inextricable from being projected upon all women. To provide a scene that objectifies the female is to reduce the feminine form to its non-dual state, e.g., a sexual object providing a vessel for male gratification (hubris and sexual) rather then being defined by its duality of sentient and physical forms. Those who construct scenes of violence against women are bound to a moral responsibility to subjectify the woman’s perspective, thus reestablishing the female as a victim rather then an object and rendering the act of violence intelligible (deplorable, open to interpretation).
...nditions. Students taking online classes might find it easier to attend family gatherings, traveling, and attended to personal needs. An online class allows the students to work on their own time, to whereas the traditional classes they have to stick with a schedule.
Through discourses in theatrical, anthropological and philosophical discussions, Butler portrays gender identity as being performative rather than expressive. Gender, rather than being drawn from a particular essence, is inscribed and repeated by bodies through the use of taboos and social
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