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Showing posts with label sexuality. Show all posts
Showing posts with label sexuality. Show all posts

Tuesday, 9 November 2021

Famous monsters: mediations of celebrified sex offenders in contemporary US media

Online talk via Teams, 16 November Tuesday, 17:00-18:00 (link)



As part of the Centre's research seminar series, Sabrina Moro's paper will examine the imbrications of sexual violence and celebrity culture in contemporary US media. Even before #MeToo, the public fascination with everyman perpetrators of violent sex crimes has been instrumental in shaping cultural understandings of sexual violence. A critical analysis of the media framing of sex offenders who have become famous because of the crime they committed reveals how the celebritisation of sexual violence can be lucrative.

Because of its focus on sex-based offences and its trademark ‘ripped-from-the-headlines’ episodes, Law & Order: Special Victims Unit (NBC 1999-) provides an entry point to analyse the celebrification of perpetrators. This paper draws on SVU’s dramatization of the cases against Earl Bradley and Larry Nassar It first explores how celebrified pedophiles are constructed as monstruous abnormalities to maintain the mutual exclusivity of heterosexuality and violence. Even as there are many similarities between the Bradley case and the Nassar case – abuse of medical authority, serial assault of minors – their cultural resonance is not equivalent. The second part of this paper attends to this discrepancy. It shows that the media coverage of Nassar’s trial captures social anxieties related to gender, sexuality, race, and class, as well as the changing nature of fame.

 

Sabrina Moro recently submitted her PhD in Journalism and Media Studies at Nottingham Trent University and is currently a lecturer in French and Media at Nottingham Trent University. Her research interests include contemporary celebrity cultures, mediations of sexual violence, and feminist theory. Her work has appeared in the Journal of Applied Journalism & Media Studies and Journal of Fandom Studies. Her chapter on Maria Schneider’s sexual assault testimony will be published next Spring in Screening #MeToo: Rape Culture in Hollywood (SUNY Press).

 

Trigger warning: the paper deals with sexual assault of minors, but no details or depictions are included in the presentation.

Wednesday, 17 March 2021

Transnational Folklore, Politics, and Horror Film

The academic study of horror cinema has become increasingly established in recent years (with the Horror Studies journal launched in 2010, the Horror Studies book series from University of Wales Press launched in 2015, and the SCMS Horror Studies SIG launched in 2016), yet the study of the transnationalism of horror cinema has still been relatively limited. While the approach was discussed in the two anthologies on international horror co-edited by Stephen Jay Schneider in the early 2000s (Fear Without Frontiers, 2002; Horror International, 2005), and a handful of later collections devoted to particular national horror traditions (Korean Horror Cinema, 2013; Italian Horror Cinema, 2016; Hong Kong Horror Cinema, 2019), there is still much to be said about the specifically transnational dynamics of horror film production and reception. By investigating case studies of contemporary horror films produced in Sweden, Turkey, India and Southeast Asia, and tracing how they draw upon local folkloric and mythological traditions, this panel (proposed by Professor Chris Holmlund, Professor Rosalind Galt, Dr Cüneyt Çakırlar and Dr Iain Smith for SCMS2021 Virtual Conference) grappled with the cultural politics underpinning these complex interactions of the local and the global.

Chris Holmlund discussed the representation of the troll in Gräns (Border, 2018) and how Iranian/Swedish director Ali Abbasi presents an outsider’s perspective on Nordic folklore and Scandinavian values. Rosalind Galt followed with an analysis of the Malay folkloric spirit penanggalan and how the films Tamnan Krasue (Thailand, 2002) and Penanggal (Malaysia, 2013) deploy the figure in strikingly different political contexts. Cüneyt Çakırlar presented an analysis of the post-millennial emergence of horror films in Turkish cinema and how the djinn figure of Islamic mythology relates to the politicization of Islam in contemporary Turkey. Finally, Iain Smith investigated the invented mythology of the Goddess of Prosperity in the Indian folk-horror film Tumbbad (2018) and demonstrated how its specific combination of global/local characteristics has helped it overcome the traditional exclusion of Indian films from the international horror canon. Building on recent interventions in the field of transnational horror studies (Choi and Wada- Marciano, 2009; Och & Strayer, 2014; Siddique & Raphael, 2016), this panel therefore meet the pressing need for scholars to address exactly what the transnational turn in film studies scholarship means for the study of contemporary horror cinema.


Çakırlar's paper, titled "Djinns of Post-millennial Turkish Horror Film: Gender Politics and Toxic Kinship in D@bbe (2006-15) and Siccin (2014-19)", argues that the popularisation of the traditional and religious imagery in Turkish visual culture is symptomatic of the post-millennial politicization of Islam in Turkey following the electoral victory of Erdogan’s Justice and Development Party in 2002. The shift from militarist secularism to neoliberal Islam in Turkish politics unsettled the Kemalist foundations of Turkishness, and provoked anxiety and polarisation. Reflecting on this anxiety, this paper focuses on the post-millennial emergence of horror films in popular Turkish cinema to locate them within Turkish political culture and its restoration of Muslimness. These films authenticate their horror by exploiting an image of Turkey as a new autocracy that has antagonized the state’s secularist republican legacy. Investing in the figure of the djinn of Anatolian folklore, Turkic shamanism and Islamic mythology, the films tell paranormal stories of witchcraft, black magic, demonic possession and exorcism. Hasan Karacadag’s D@bbe and Alper Mestçi’s Siccin have been the most popular horror series. Inspired by Kiyoshi Kurosawa’s Kairo (2001), Karacadag’s D@bbe films refer to the Quranic verses on the summoning of all djinns (to lead the judgment day) by the creature Dabbe’t-ül Arz, which these films seem to depict as an evil force haunting people through digital media. While Karacadag’s transnational style appropriates a Japanese and American supernatural horror aesthetic, his use of the djinns of Turkish folklore and Islamic mythology narrates stories that represent toxic relations of family, kinship, class, and property in contemporary Turkey. In these films, demonic femininity, especially via vengeful mothers, mobilises djinns and demons across generations. Thematically resonating with the D@bbe series, Mestçi’s Siccin movies move from the found-footage “techno-horror” to hybrid “horror dramas” of familial grief, revenge, jealousy and class conflict, i.e. amorous and familial relations cursed by djinns and demons. Çakırlar's study discusses the ways in which the two most popular auteurs of this new genre cite folklore and religion to entertain, if not confront, their audiences with the contemporary horrors of gender politics and kinship relations in post-millennial, post-secular Turkey and its Islamic liberal-conservative project of rebuilding the nation.          

 

Saturday, 16 January 2021

The Monogamous/Promiscuous Optics in Contemporary Gay Film

Cüneyt Çakırlar & Gary Needham (2020) The monogamous/promiscuous optics in contemporary gay film: registering the amorous couple in Weekend (2011) and Paris 05:59: Théo & Hugo (2016), New Review of Film and Television Studies, 18:4, 402-430

To link to this article: https://doi.org/10.1080/17400309.2020.1800329

This article explores representations of same-sex intimacy in contemporary gay cinema by focusing on two films, Weekend (2011) and Paris 05:59: Théo & Hugo (2016). Both films spatialise intimacy, which is reflected in a formal appeal to monogamous and promiscuous optics. What interests us here is how the rela- tional politics of monogamy/promiscuity can be considered as stylistic and ideological registers in gay filmmaking. Informed by Leo Bersani’s work, we investigate how gay cinema tests the social viability/intelligibility of same-sex intimacy against a centring of the self. Furthermore, we explore how gay films use form and style to situate both their politics and their spectators through specta- cles of erotic relationality. Following Bersani, the article proposes a theory of cinematic optics that privilege the impersonal over the personal, and the onto- logical over the psychological. Weekend ‘ovalises’ intimacy and locates the couple formally and ideologically. The couple in Weekend’s space of sociality operates within a monogamous optic that presents intimacy through stabilising identities and psychologising subject positions. Théo & Hugo, however, reorients spectator- ship as impersonal and promiscuous in finding a way to express the experience of cruising and sociability in ways that are dispersed and extensible.








Monday, 30 November 2020

Ameliorative Homecomings: Framing the Queer Migrant in Documentary


 Ameliorative Homecomings: Framing the Queer Migrant in A Sinner in Mecca (2015) and Whos Gonna Love Me Now? (2016) 

published in The Garage Journal: Studies in Art, Museums & Culture, Issue 01 ‘Transitory Parerga: Access and Inclusion in Contemporary Art,’ edited by Vlad Strukov (University of Leeds): pp. 245-263. [open access link]



Cüneyt Çakırlar's study critically analyzes the themes of queer migrancy and homecoming in two recent documentaries. Parvez Sharma
A Sinner in Mecca (2015) documents the filmmakers journey from the U.S. to Saudi Arabia for his hajj pilgrimage. Using an essayistic, first-person documentary register, Sharma constructs a tension around his attachments to nation, religion, and sexuality. While the film offers a critique of religion as a punitive state apparatus, Sharmas pronounced proprietorial relation to a migrant gay Muslim identity functions in progressive counter-valence. Tomer and Barak Heymanns portrait documentary, Whos Gonna Love Me Now? (2016), tells the story of Saar, an Israeli gay man who was expelled from his Jewish community in Israel and has emigrated to London. Treating Saars HIV diagnosis as the marker of an affective crisis, the film oscillates between two distinct spaces of domesticity: Saars family in Israel, and his circle of friends in the U.K. In both films, the conflict between religion, national belonging, and sexual identity is resolved through a normative pull towards home and its affective restructuring of intimacy in the context of queer migrancy. The ameliorative status of homecoming operates as a default resolution in these films. A longing for home is that which both films register as the constitutive attachment of the queer migrant.

 

Keywords: affect, essay film, first-person, intersectionality, LGBTQ documentary, migration, religion, sexuality, transnationalism


To access the open-access journal, visit https://thegaragejournal.org/en/


The Garage Journal: Studies in Art, Museums & Culture is an independent interdisciplinary academic platform that advances critical discussions about contemporary art, culture, and museum practice in the Russian and global contexts. It publishes original empirical, theoretical, and speculative research in a variety of genres, celebrating innovative ways of presentation. Fully peer-reviewed, The Garage Journal provides an open-access source book of ideas for an international audience.


Wednesday, 24 April 2019

Translating Girlhood in Mustang (2015): Locations of Style, Political Context and Audience Reception



Image result for mustang 2015 filmAs part of the conference "Female Agency and Subjectivity in Film and Television", which took place at Istanbul Bilgi University (April 11-13, 2018),  Cüneyt Çakırlar presented his paper in the panel "Translating Girlhood in Mustang (2015)" with Özlem Güçlü (MMGSU) and Elif Akçalı (Kadir Has University). 

Focusing on the Turkey-born French director Deniz Gamze Ergüven’s debut film Mustang (2015), the panel explored diverse modes of critical analysis to locate the film’s national and transnational framings of gender politics. Mustang tells the story of five orphaned sisters living with their grandmother and uncle in a remote Turkish village. Focusing on these five characters’ rapport with the conservative and segregated gender order in which these girls are “trained for” and forced into arranged marriages, this unconventional coming-of-age story capitalises upon solidarity, agency and resistance rather than a defeatist drama of spectacular victimhood. However, the film has received differing reviews: while the international reviews were celebrating it as a feminist text of rebellion and female empowerment, the local (i.e. Turkey-based) reviews were more sceptical of the film’s engagement with the national political context. The panel questioned the functions of film style, the political context of cinema, and audience reception in locating Mustang’s ideological operations in terms of national politics, (trans)national feminism, and the theoretical frameworks of national/transnational cinemas. Özlem Güçlü argued that Mustang’s formulation of female agency and subjectivity can be considered as exemplary of new female narratives in the contemporary cinema of Turkey. Cüneyt Çakırlar focused on the film’s formal/stylistic choices and the extent to which these choices reify a transnational feminist accent while undermining the local intricacies of gender politics. Finally, Elif Akçalı discussed the differences in the film’s reception by critically exploring local and international reviews of the film.        



Friday, 11 January 2019

Soufiane Ababri's solo show at The PILL, Istanbul




Following his solo show, Here is a Strange and Bitter Crop, which was on display at the Space in London last year, the French-Moroccan artist Soufiane Ababri has recently launched an exhibition of his recent work at the gallery The PILL (Istanbul & Paris) titled Memories of a Solitary Cruise (10 January - 23 February 2019). Through his use of the spectacular scene of traditional Turkish wrestling, Ababri's project intervenes into the racialised and sexualised modes of Orientalism. Exploring male friendship and homoeroticism in Arab and Middle Eastern cultures through the intersections of race, gender and sexuality, Ababri's art of appropriation creates a productive friction by depicting Arab or "Oriental" with the aesthetic tools of Western canons/masters of homoerotic arts.

The gallery commissioned Cüneyt Çakırlar to author a piece that introduces Ababri's art practice to the Istanbul audience. The English version of Çakırlar's piece can be accessed from this link. The Turkish translation has recently been published in Manifold.

Thursday, 24 April 2014

On the Gimp

Gary Needham has recently published an article on the gimp as an image of SM in popular culture very much in the spirit of Gayle Rubin’s work in seeking to understand why sex is so terrifying for mainstream culture. The article appears in Fashion Theory Vol.18 No.2

The article investigates the cultural power associated with the gimp and the gimp mask. The gimp is a clothed or costumed SM body, frequently a submissive that often wears a leather or rubber costume that covers and effectuates the entire body including the face. The gimp is also a representation of SM that circulates throughout fashion and film and other forms of popular culture. Since the gimp’s first public outing and naming in the Quentin Tarantino film Pulp Fiction it has become the byword for the head-to-toe leather SM look that has been appropriated by a number of designers as way of exploring and exploiting the relationship between fashion, fetishism, and transgression. As a counterpoint to the popular image of SM in fashion and popular film, the article also explores how the artists Catherine Opie and Robert Mapplethorpe have represented the gimp, not as an index of horror or transgressive style rather as an affirmative image of their own SM communities that, while still intended to shock and confront, is a defiant attempt to rescue or reclaim the gimp from its negative associations.

Here’s an extract from the article on Catherine Opie’s iconic work Self-Portrait/Pervert (1994):


[…] In contradistinction to Pulp Fiction and the gimp monsters of popular culture and the horror film, in the same year as Pulp Fiction photographer Catherine Opie produced a self-portrait of herself in a gimp mask called Self-Portrait/Pervert (1994). In the self-portrait Opie is sitting in front of chintzy brocade wallpaper, lettering freshly cut in to her bleeding skin which reads ‘pervert’, and she is pierced along each arm with forty-six evenly spaced temporary needles; at the time Opie belonged to the San Francisco SM community. Why would Opie make an image that is so difficult to look at? Why would anyone do that to their body? Why would a self-portrait deny access to the artist’s face? These are important questions the work provokes. In Self-Portrait/Pervert Opie recalls that she ‘wanted to push the whole realm of beauty and elegance, but also to make people scared out of their wits’ (Ferguson 2008: 106). Unlike the scare tactics of Pulp Fiction Opie’s intentions are altogether different. Self-Portrait/Pervert also challenges the conventions of portraiture by having Opie’s head covered by a gimp mask so that the viewer has no access to her face - she denies them a way to access her identity and instead evokes a confrontation with SM and pain and the questions posed above. Indirectly Self-Portrait/Pervert responds to the politics of Pulp Fiction that invokes a popular culture version of SM by making the gimp on/scene, while concurrently the real queers and SM subculture remain obscene, off stage, silenced, censored. Opie in Self-Portrait/Pervert and related works from around this period challenged the ongoing demonization of SM and the censoring of transgressive queer art which includes hostility from ‘normalized’ gays and lesbians. Self-Portrait/Pervert symbolizes the silences and the obliteration of identity that queers experience by heteronormative culture and other gays and lesbians; it is a work born out of the AIDS epidemic, which turns the pain associated with SM into a political statement to the point where the images test the limits of legibility, both in the extremity of the image of cutting and piercing and the gimp mask’s erasure of the face as a point of identification. Opie explains the impetus behind the self-portrait:

‘Perverts’ [sic] is a very angry piece. I was pissed off. I really wanted to make that piece because of what was happening culturally in the US: the [NEA] censorship, the fuss around the Mapplethorpe show and what was happening in mainstream gay culture. All of a sudden mainstream gays and lesbians were calling themselves ‘normal’ and yet a lot of communities were being pushed further and further out in a certain way.’ (Blessing 2008: 16)

Opie also goes on to describe Self-Portrait/Pervert as ‘a decorative image of pride; for people outside that subculture, it is a challenge, a gauntlet thrown down’ (2008: 16) and she means those normalized gays and lesbians as much as the assumed audiences for Pulp Fiction. Despite an obvious delineation of these two texts, Pulp Fiction and Self-Portrait/Pervert, nonetheless get yoked together in reference to Mapplethorpe’s SM pictures as Stockton remarks in her analysis of Pulp Fiction’s black and queer debasement and shaming that ‘Tarantino's film puts into motion images reminiscent of Mapplethorpe's photography' (2006: 104).  Mapplethorpe and the discourses around his photographs of gay leathermen and SM is a thread that links many of the ideas raised in this article about representation, the reification and reception of SM in culture as something risky and to be feared, horror being continually evoked but also as a source of pride and defiance. […]



Monday, 7 April 2014

Jake Yuzna's Open at Kuenstlerhaus Stuttgart

The exhibition at Kuenstlerhaus Stuttgart, Skeptical Thoughts on Love, departs from artistic perspectives that conjecture multiple forms of attachment, intimacy, and obsession. Methodologically speaking, it is inspired from the physical reality, potential impact and transformative power of love. The exhibition speculates on the potentiality of love as if it is the only possible form of resistance for cognitive/collective revolution in our contemporary solitude, demands silence as a conceptual tool to deal with human relationships and art works, and proposes to operate as a testing ground for introspection, self-analysis and self-reflection.

Participating artists:
Natalie Czech, Keren Cytter, Mariechen Danz, Leyla Gediz, Judith Hopf, Matthias Megyeri, Henrik Olesen, Christodoulos Panayiotou, Johannes Paul Raether, Sophie Reinhold, Emily Roysdon, Eva Schmeckenbecher, Jake Yuzna and Adbusters

The show ends with the screening and discussion of Jake Yuzna's film Open (2010). Open generates a strong vision, and contemporary panorama of how gender, sexuality and identity transform through diverse forms of love, attachment and intimacy. It is the first American film to win the Teddy Jury Prize at the Teddy Award (Premier: Berlin Film Festival in 2010). The film also won Best Narrative Film at the TLV Festival in Tel Aviv Israel, Best Performance at Newfest, as well as having the Jake Yuzna named a Four in Focus filmmaker at Outfest. Much of the film was inspired by the artist and musician Genesis P-Orridge, who served as creative consultant on the film and an interview with her made by Yuzna has been shown as part of the installation at the Künstlerhaus Stuttgart. 

Cuneyt Cakirlar gives an introductory talk on the film and moderates the post-screening discussion with the curator of the show Adnan Yıldız on 30 March 2014. 

Monday, 24 March 2014

Butler's Bodies That Matter (1993) in Turkish



Cüneyt Cakirlar has been working with Zeynep Talay on the Turkish translation of Judith Butler's seminal book Bodies That Matter: On the Discursive Limits of "Sex" (1993). The translation, Bela Bedenler, has finally been published in early March this year by the Istanbul-based publishing house Pinhan. Butler's other works, including Gender Trouble (1990), The Psychic Life of Power (1997), and Precarious Life (2006), had already been translated into Turkish in previous years. In Bodies That Matter, Butler offers a groundbreaking exploration of embodiment and sexuality in Western philosophy. We hope that the Turkish translation will be as effective and inspiring to the new generation of queer scholars in the country.    

Thursday, 7 November 2013

Shifting Dialogues II: Sexual Artifice in Asian Art and Performance


The Asian Art and Performance Consortium (AAPC) of the Academy of Fine Arts (Kuva) and the Finnish Theatre Academy Helsinki (Teak) hosted a symposium focusing on manifestations of sex, sexuality and gender in Asian art and performance on 17-19 October. This was the second symposium organized under the ongoing research project, Shifting Dialogues. The project is funded by the Academy of Finland in 2011-2014.

Following the focus on “The Politics of Site, Locality & Context in Performance and Visual Arts” last year, this year’s project targets at issues of sexual embodiment and gender subjectitivy in Asian/Asiatic art-practice with emphasis on performance arts, film, video art, installation, live art, and dialogical work.

In his paper “Troubled Objects of Nationalism and Masculinity”, Cüneyt Çakırlar explored the role of scalar, regional, and global/international discourses in contemporary art criticism. Cüneyt’s paper discussed the practice of a selection of artists producing work from/on/about the Middle East (Erinç Seymen, Taner Ceylan, Akram Zaatari, Slavs and Tatars, etc.). Questioning their critical use of geo-political location, region and scale in their aesthetic framework, Cüneyt talked about performative, transregional methodological/theoretical approaches to globalized art forms, which would contextualize, if not re-enact, the ways in which these artistic subjectivities inhabit the world.

Friday, 27 September 2013

Bringing Out the Gimp: Fashioning the SM Imaginary


Gary Needham has just written an article for a special pornography issue of Fashion Theory (due 2014) that examines the cultural power associated with the gimp and the gimp mask in both popular culture and art. The gimp is a clothed or costumed SM body, frequently a submissive that often wears a leather or rubber costume that covers and effectuates the entire body including the face. The gimp is also a representation of SM that circulates throughout fashion and film and other forms of popular culture. Since the gimp’s first outing and naming in the ‘bringing out the gimp’ scene from the film Pulp Fiction (1994) it has become the byword for the head-to-toe leather SM look that has been appropriated by a popular culture as way of sensationalising and exploiting the relationship between clothing, fetishism, and transgression. As a counterpoint to the popular or mainstream image of SM the article also explores how the artists perceived to be transgressive and controversial, Catherine Opie and Robert Mapplethorpe, have represented the gimp, not as an index of horror or transgressive style rather as an affirmative image of their own SM communities that, while still intended to shock, is an defiant attempt to rescue or reclaim the gimp from its negative associations. 

One of the main points drawn out in the article is the apparent cultural power associated with the gimp as something obscene and horrific that constructs what Gayle Rubin calls ‘the leather menace’. The gimp is character and a representation that retains disturbing and provocative qualities as a ‘symbolic exercise of social risk’ (McClintock 2003: 237) generating a range of controversial and pornographic meanings both on/scene (as literally seen) and ‘obscene’ across film, art, fashion, and popular culture. The article’s is concerned with some of those meanings, the textual and sexual politics of the gimp as a representation of SM for example, in Pulp Fiction the gimp allows racism and gay SM to almost be one and the same thing; Pulp Fiction’s gimp is a costumed embodiment of gay SM horror!  SM imagery in popular culture attempts to capture ‘menace’ and ‘risk’ and yet simultaneously contain that risk by misrepresenting the axis of power, rendering conventionally masochistic clothing designed for submissive binding and sensory deprivation in to the attire of sadistic monsters, serial killers, and torturers. Gimps in popular culture are often the stuff of nightmares. As a counter-point to this popular fantasy the article goes on to investigate the ‘real’ gimps that appear in Robert Mapplethorpe photographic chronicle of his SM community in the 1970s in addition to more recent artists like Catherine Opie (both of whom have images of their work reproduced in the article by permission from the Guggenheim collection and the Robert Mapplethorpe Foundation). Opie appears in her own Self-Portrait/Pervert  (1994) sitting in front of chintzy brocade wallpaper wearing a gimp mask, lettering freshly cut in to her bleeding skin which reads ‘pervert’, and pierced along each arm with forty-six evenly spaced temporary needles. Why would Opie make an image that is so difficult to look at? Why would anyone do that to their body? Why would a self-portrait deny access to the artist’s face? Is it a response to Pulp Fiction SM phobia? These are important questions Self-Portrait/Pervert provokes and hopefully that the article answers.

Friday, 26 April 2013

Queer Impact and Practices

Queering Paradigms III: Queer Impacts and Practices is a new collection edited by Liz Morrish (co-edited with Kathleen O'Mara of SUNY Oneonta) which will be published soon by Peter Lang.

Their book brings together chapters arising from the third annual Queering Paradigms conference. Queer Theory is still evolving and extending the range of its enquiry. It maps out new territories via radical contestations of the categories of gender and sexuality. This approach de-centers assumptions of heteronormativity, but at the same time critiques a new homonormativity. 

In this collection, Liz and Kathleen incorporate the work of queer theorists and queer activists who are seeking new boundaries to cross, and new disciplines and social relations to queer. The sections of this book interrogate the impact of Queer Theory in studies of culture, nationalism, ethnography, intimacy, the social sciences as well as activism. Chapters address contemporary theorizing about gay citizenship and ‘homonationalism’ as well as a critique of gay visibility. Authors examine the symbolics of queer subversion and transgression in performers who transgress gender and sexuality codes. Queer activists extend their analysis into the world of punk, Buddhist religious teaching and Native Studies. Recent work attempts to transform several disciplines within the social sciences: linguistics, psychology, and ethnography.  Their book aims to demonstrate that Queer Theory, as well as being a disposition, is now deployed by many researchers as a legitimate framework of analysis which questions many of the categories, constructs and relationships we encounter in twenty-first century society.

Friday, 5 April 2013

'On Not to Be Gay'


Hongwei Bao has recently published a new article, 'On Not to Be Gay: Aversion Therapy and Transformation of the Self in Postsocialist China'.

In this article, through a critical reading of the published diaries written by the gay ‘patients’ who received aversion therapy in order to become ‘straight’ in south China in the 1990s, Dr Hongwei Bao examines how the transformation of subjectivities from gay to straight was made possible by such ‘self-technologising’ practices as writing diaries and affective communication with others. In doing so, he considers the centrality of the body and affect in the process of subject (trans)formation, and asks how a new, coherent and authentic ‘self’ was fabricated through bodily and affective experiences. This discussion not only reveals the social construction of the self as central to China’s postsocialist governmentality, but also the central role that gender and sexuality play in processes of self-formation.

Hongwei Bao, 'On Not to Be Gay: Aversion Therapy and the Transformation of the Self in Postsocialist China', Health, Culture and Society, 3(1): 132-49.

Thursday, 7 March 2013

Queer/ing Regions: Symposium Report

Cuneyt Cakirlar reports on the Centre's recent symposium on Queer/ing Regions.

Since their paths crossed at NTU, Cuneyt Cakirlar and Hongwei Bao were having conversations about their research and the ways in which they respond to the contemporary scholarship on queer globalization(s) and transnational sexuality studies. While collaborating with students, activists, policy-makers, artists, filmmakers – whose work bears a critical affinity with the growing trends of queer and LGBT activism in Turkey and China, they realized that these “travels” were critically informing their discourse of cultural translation between regions.   

Cuneyt and Hongwei decided to facilitate a dialogue between scholars whose practice contains "regional" emphases in queer contexts. One of their inspirations was Gayatri Gopinath’s theorization of the region. Gopinath questions how useful regionality can operate as “a concept through which to explore the particularities of gender and sexual logics in spaces that exist in tangential relation to the nation but that are simulatenously and irreducibly marked by complex national and global processes” (2008: 343). Thus, the main objective of Queer/ing Regions has been to address the possibilities/potentials of a critical "(self-)regioning" and thus to question the ways in which the complex regional/local formations of sexual dissidence emerges as objects of theoretical inquiry when situated within a global context by means of academic and activist practice.

Exploring critically the "transnational" turn in the second-wave queer scholarship which questions the global/ised intersections between race, ethnicity, nation/diaspora, gender and sexuality, the symposium "Queer/ing Regions" aimed to facilitate a critical intellectual exchange focusing on the discourses of the "regional" in contemporary queer criticism. The organizers attempted to revisit the critical potentials of reclaiming the regional in queer critique. Rather than presuming the regional actors as passive recipients of global flux, this conversation focused on the complex dynamics of local/global systems in sexual politics. How can we understand transnational formations of sexual subjectivities  without assuming a radical alterity between the local and the global, or the west and the east? How can we understand the uneasy nexus of community and sexuality in a global framework without avoiding to hear the voices of regional actors? How can we identify modes of negotiation and contestation in the encounter of the local sexual politics/practices with the Gay International?

The first session of Queer/ing Regions started with Professor William Spurlin’s paper on the new forms of ‘queer’ writing emerging in French from the Maghreb. Accounting for the historical influence of French colonialism and Arab Muslim culture, Spurlin’s paper explored how “this new writing (Eyet-Chékib Djaziri. Rachid O., Abdellah Taïa. Nina Bouraoui) has created spaces specifically for the textual and social negotiation of new forms of dissident sexuality  and regional belonging whilst simultaneously blurring received cultural distinctions between gender-defined performances of homosexuality (active/passive) and struggles for a sexual identity as a discursive position (hetero/homo) not merely reducible to its manifestations in the West.” Following Spurlin’s talk, Howard Chiang considered Sinophone studies as an emerging field that suggests a conceptual framework exposing “where the liminal spheres of queer studies and Chinese Studies overlap”. Chiang ended his talk with a suggestive rereading of one of the most celebrated films in which homosexual experience in the PRC is depicted, Lan Yu (2001). In the final paper of this panel, Professor Richard Phillips shared his reflections and observations on the workshop “Postcolonial Sexualities: Emerging Solidarities” which he recently organized at the University of Sheffield. Phillips explored matters of “empirical and theoretical predicaments”, “dispersed agencies” and risks of “authenticity fetishisms” implied within discourses of the regional.

The second panel of the symposium hosted three geographers who attempted to relate to the region-as-concept from within the disciplinary foundations of geography. Gavin Brown suggested that queer studies (and lesbian and gay studies before it) have periodically considered the role of political economy in shaping sexual identities and politics, but has not engaged with political ecology. “Mak[ing] a case for understanding sexual identities in the context of resource consumption (and local ecologies) at various spatial scales”, Brown’s paper argued that “the emergence of 'modern' gay identities in the Global North largely coincides with the period of high-carbon consumption.” Following this discussion, Silvia Posocco responded explicitly to the organizers’ invitation to consider “discourses of the regional in contemporary queer criticism”. Suggesting that “comparative and regional might become contradictory tools”, Posocco discussed some of the problems and possibilities that open up “when one foregrounds the epistemological and political dimensions inherent in how scale, relation and perspective are figured in queer analysis.” Following Posocco’s inspiring paper, Jon Binnie referred to recent debates in human geography on “the relational politics of scale, networks and assemblage to pose questions of contemporary transnational queer studies.” Relying on his recent empirical study of transnational activism on LGBTQ politics in Central and Eastern Europe, Binnie suggested that “these debates can enrich debates on the politics of space within transnational queer studies, by opening up new agendas for a critical engagement with the region.”

In the final panel, building upon her previous research on Shanghai's gay political economy, Camila Bassi explored the remarkable phenomenon of the reality television show, "Mongolian Cow Sour Yogurt Super Girl Contest". Bassi made connections “between the socio-cultural and the politico-economic aspects of the Super Girl phenomenon, in order to fully illustrate the radical space that was created in China for an antihero and lesbian identity.” Following Bassi’s discussion, Enda McCaffrey explored shifting male homosexual practices in specific urban centres in the UK in the 1970s and 1980s. McCaffrey examined “how homographies of this period, set against a unique backdrop of terrorism, military occupation and urban segregation, stand out as traces of a queer ars erotica that is integrative, relational and invisible, but which have been lost to later hypervisible marks of gay identification.” The final paper of the event was Bethan Stevens’ piece which offered a creative exploration of a queer experience of travelling between Sussex, England, and Kigali, Rwanda, in 2007. Attentive to small details, Stevens’ writing sought to show “how the local, regional and global interact in everday life, sometimes in uncanny ways.”

We genuinely hope that the diverse multi-disciplinary content of the symposium triggered inspiring and productive conversations, and hopefully, an ongoing dialogue for further collaborations.  

Thursday, 7 February 2013

'I did not have sex with that bishop'

Liz Morrish explores what linguistics can tell us about current debates in the UK about gay bishops.

In early January 2013, The Church of England made an announcement “Regarding Clergy in a Civil Partnership as Candidates for the Episcopate.” This was widely reported in the press as approval for the ordination of gay bishops. What the statement from the House of Bishops says is: "The House has confirmed that clergy in civil partnerships, and living in accordance with the teaching of the Church on human sexuality, can be considered as candidates for the episcopate….The House believed it would be unjust to exclude from consideration for the episcopate anyone seeking to live fully in conformity with the Church's teaching on sexual ethics or other areas of personal life and discipline. All candidates for the episcopate undergo a searching examination of personal and family circumstances, given the level of public scrutiny associated with being a bishop in the Church of England.”
Reading between the Episcopal lines here, we find that, although no such sanction is applied to heterosexual married bishops, those who are gay and in civil partnerships with another man must swear an oath of celibacy in order to remain in conformity with the Church’s teaching. From this, we may surmise that, according to the Church of England, sexual ethics is about what sexual acts you perform, not about love, fidelity and commitment with a partner. 
Coming so soon after the Church had voted not to allow women as bishops, the talk on social media was of the Church being out of touch and obsessed with sex. One of the first to respond, angrily, was The Reverend Dr Giles Fraser who offered this solution to a gay bishop who may find himself in a quandary -  just lie. This seems unsatisfactory, as it forces gay clergy to retreat to an uncomfortable closet, and commit the sin of lying as well. None of this is a burden to heterosexual bishops, and so the advice leads to inequality and discrimination.

As a linguist, and a lesbian, the whole argument reminded me of a piece of academic research done in 1999 by Stephanie Sanders and June Reinisch on how differently men and women define ‘having sex.’ Their work was inspired by the public debate inaugurated by former US president Bill Clinton’s 1998 declaration that “I did not have sexual relations with that woman, Miss Lewinsky.” Indeed, it turns out that Mr Clinton is not alone in his rather circumscribed definition of having sex, with 56% of men and 62% of women agreeing with him that oral-genital contact does not count. For most heterosexuals, ‘having sex’ would be about penetrative intercourse; however, gay men would almost certainly require a wider portfolio of sexual acts to delineate their notion of ‘having sex.’ I was once present at a workshop on sexual health where the introductory ice-breaker required each participant to recount in turn, “the last time I had sex, I…” The rule of the game, was, no repetition, and there was none. The task went round the group of fifteen gay men three times before they ran out of ideas. This just illustrates that this group’s perception of ‘having sex’ might not tally with the House of Bishops’ notion. Moreover, how ludicrous it would be if each gay bishop was required to seek a ruling on whether last night’s congress had constituted ’having sex.’ Would deep kissing offend? Or watching a porn movie? Or any of the other myriad and creative ways human beings can pleasure each other? It would certainly force clarity of thinking onto a group of theologians who seem to have overlooked some rather basic research into human sexuality. 

Looking forward to Lesbian, Gay and Bisexual History Month, this linguist offers that radical solution to Dr Fraser, and to the Church of England, and it would guarantee that Church business would be stymied, until its hierarchy finally did stop being so unnaturally obsessed with a gay man’s sex life. 

Liz Morrish is Principal Lecturer in Linguistics in the Centre.