Pornography: The Musical – performativity on the margin

Brylla, Catalin (2016) Pornography: The Musical – performativity on the margin. In: Sex and the Cinema Conference, 10-11 Dec 2016, Kent University, UK. (Unpublished)

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Abstract

In his musical documentary, Pornography: The Musical (2003), Brian Hill gives a performative voice to commonly misrepresented sex workers by asking them to sing their stories, intermingling the songs with traditional interviews. Hill’s idiosyncratic documentary and musical aesthetics create an embodied intimacy, which is as much about encouraging marginalised people to enact multiple identities as it is about displaying his own performative enactment. According to Bill Nichols, performative documentaries elicit a specific audience experience through affective, embodied knowledge rather than transmission of generalised, symbolic meanings (2001, p. 131). This paper examines Hill’s film as an affect-laden and highly subjective phenomenon, which ‘un-others’ a formerly stereotyped subculture for its audience, counteracting the formation of generalised character and narrative stereotypes, by focusing on the ambiguity and particularity of their multiple screen identities.

Item Type: Conference or Workshop Item (Paper)
Subjects: Film and television > Screen studies
Depositing User: Catalin Brylla
Date Deposited: 21 Jul 2017 16:55
Last Modified: 09 Oct 2017 10:53
URI: http://repository.uwl.ac.uk/id/eprint/3621

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