3:30-5:15 PM –– Session Three: Insatiable Appetites (WHC 208)
Moderator: Name TBD, Title TBD, Yale University
Marco Bohr (Loughborough University): “Tampopo: Food, Hedonism and Decadence in Japan’s Bubble Economy”
Michael Turcios (University of Southern California): “The Appetite to Consume ‘Otherness’ in the French Colonial Cinema of Claire Denis”
Fareed Ben-Youssef (University of California, Berkeley): “‘Attendez la Crème!’: Food and Cultural Trauma in Quentin Tarantino’s Inglourious Basterds and Django Unchained”
Troy Bordun (Trent University): “Porn in the Art Gallery: Aesthetics and Sensory Disciplining”
Porn in the Art Gallery: Aesthetics and Sensory Disciplining
I contend that before precise acts are represented onscreen, porn aesthetics presupposes a user who wants to control but not necessarily master the materials under his gaze. Porn users actively engage with images and video and simultaneously require an abandonment of that activity to experience visual and bodily pleasure (Paasonen 2011; 2013). If we presume the “pornification” of modern culture (Paasonen, Nikunen and Saarenmaa 2007), which includes at the very least a general familiarity with the phenomenon of pornography, contemporary spectators are ready for a gallery of porn, more so than spectators from earlier decades. Curatorship of an exhibition of pornography should therefore provide active and passive modes of interactivity for its participants, i.e., contain materials that command physical grabbing and perceptual touching to thereby cultivate some degree of sexual abandon.
In late August, 2014, I curated a small exhibition entitled Stags, Sexploitation, and Hard Core: Moving Image Pornography up to 1972 at an artist-run center in Peterborough, ON. I think the unusual setting for pornography offers me a chance to consider the genre’s aesthetics, as claimed above, and spectators’ relationship to disciplining spaces. For the exhibition I decided upon a number of films to play simultaneously throughout the gallery and designed panels composed of stills, promotional materials, and text. The purpose of the exhibition was to bring a small portion of pornography’s history to the public. Additionally, on the introductory panel, I suggested that pornography aims at eliciting bodily sensations from its spectators. I wrote that arousal, laughter, shock, surprise, and awkwardness were as valuable responses as critical (dis)interest. Through observation of visitors and reading anonymous surveys about their experiences, I discovered that the organization and architecture of the gallery maintained a critical distance between spectators and materials, as in a conventional gallery (Williams 1995; Dennis 2009), despite my efforts to produce the opposite effect.
“Eye Candy: Consuming Moving Images at the Cinema and Beyond”
All events are at the Whitney Humanities Center (WHC), 53 Wall Street. All events are free and open to the public.
FRIDAY, FEBRUARY 13
4:30-5:30 PM –– Registration (WHC 208)
5:30-6:30 PM –– Keynote Address (WHC Main Auditorium)
Nicholas Mirzoeff, Professor of Media, Culture, and Communication, New York University: “The Cops and the Commons: Life, Love and Value After Ferguson”
6:30-7:30 PM –– Reception (WHC 108)
7:30-8:45 PM –– Special Screening: Daisies (1966, 35mm print, 74 min.) (WHC Main Auditorium): Introduction by Ila Tyagi
Screening generously co-sponsored by the Yale Film Study Center, the Department of Slavic Languages & Literatures, and the Department of Art History.
SATURDAY, FEBRUARY 14
9:00-10:00 AM –– Late Registration and Light Breakfast (WHC 208)
10:00-10:05 AM –– Opening Remarks (WHC 208)
Swagato Chakravorty and Regina Karl
10:05-11:45 AM –– Session One: Auteurs and their…
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