I suppose this thought doesn't directly segue into Lorde's articulation of the erotic, but her essay was on my mind during my viewing of the film. I think the controversy that surrounds a work that is explicitly sexual, but deviates from our standard depiction of sex in such a way as to call attention to that standard, illuminates an unspoken line society draws between what is hot (for lack of an ability to use erotic in it's colloquial sense now) and what is profane. And it seems the drawing of that line has a lot to do with the thinking about sex. Which reminds me of the part of Lorde's essay that talks about the necessary "looking away" that those of the european-american tradition need to do when satisfying their erotic needs. She writes: "To refuse to be conscious of what we are feeling at any time, however comfortable that might seem, is to deny a large part of the experience, and to allow ourselves to be reduced to the pornographic, the abused, and the absurd." I think that "Fat Girl" puts the viewer in the uncomfortable position of either thinking of their own relationship to sexual violence in film, or of refusing to consider it and feeling reduced to the absurd.
It's a great film, I definitely recommend it to everyone too.
"Breillat’s approach to the sex scenes in Fat Girl is in line with the “real-time sex” on show in the new slate of films, a strategy she pioneered in 36 fillette. Feminists have long argued that the “male gaze” in classical cinema is achieved in part through the fragmentation of women’s bodies; Fat Girl eschews such images. The slow pace of the scenes, their dispassionate style and brutal precision, disengages us, denying eroticism. Breillat also distances us from the action and avoids voyeurism through Anaïs’s gaze, which mediates the seduction and ultimate humiliation of her beautiful sister." -Ginette Vincendeau from "Fat Girl: Sisters, Sex, and Sitcom" http://www.criterion.com/current/posts/495-fat-girl-sisters-sex-and-sitcom
ReplyDeleteI watched "36 Fillette" last night and found the overall tone much lighter, but perhaps I would have felt a little differently if I hadn't watched "Fat Girl" first. I guess I agree with Vincendeau in that Anais's gaze helps to distance spectators and thwart voyeurism (to some extent). "36 Fillette" seemed a bit more like voyeurism--especially because the female character, Lili, was much more of a spitfire, having more of a personality than the pretty sister in "Fat Girl."
ReplyDeleteI wonder to what extent voyeurism can truly be avoided. I am not familiar with what movies are featuring "real-time sex," but I'm curious how that's different from most pornography. Isn't porn real-time sex?
I'm sure the overall narrative context is what makes the difference, but even interrupting the fragmentation of the male-gaze doesn't seem like enough to completely usher viewers away from flirting with an erotic interpretation.