Exploring marginality in Linda, Les & Annie
Bibliographic Data
| ID | 13086229 |
|---|---|
| Authors | Valerio De Simone (Sapienza University of Rome, corresponding author) |
| Year | 2023 |
| Volume | 12 |
| Issue | 4 |
| Pages | 571-579 |
| Publication date | 2023-04-11 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Porn Studies (JOURNAL) |
| Journal identifiers | ISSN: 2326-8743 • E-ISSN: 2326-8751 |
| Publisher | Taylor & Francis (PUBLISHER • GB) |
| DOI | 10.1080/23268743.2022.2145987 |
| OpenAlex | W4364366210 |
| Language | EN |
| References cited | 13 |
The concept of margin, as bell hooks has argued, is a space of radical openness and a place of resistance. This theory is well suited to the ‘docuporn’, as defined by the director herself, Annie Sprinkle, Linda, Les & Annie: a female to male transexual love story. The choice of the transgender theme of the work goes beyond the provocation that has always characterized Sprinkle’s work, as for the first time in the pornographic world the object/subject of gaze is a trans FtM. This choice has a strong political charge that has generated discrepant opinions in the trans community in the first place, but also in the feminist and lesbian-feminist one. Leaving aside this discourse, the most resistant aspect of the film is its open opposition to the heteronormative patriarchal culture, in particular to mainstream pornography
Aesthetics · Art · Aside · Lesbian · Literature · Mainstream · Openness to experience · Opposition (politics · Political science · Politics · Pornography · Psychoanalysis · Sociology · Subject (documents · Cinema and Media Studies · Gender Studies · Law · LGBTQ Health, Identity, and Policy · Psychology · Sexuality, Behavior, and Technology · Social Psychology
| Highly cited | No |
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