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• W346726309 abstract "But woman has sex organs more or less everywhere. - Luce Irigaray In the visual density of its heavily worked style, in its domestic, artisanal practice that identifies home movies as art film, and its use of film as a participant in erotic activity, Fuses (19 64-67) is an essay within the mode developed by Stan Brakhage. But it also extends that mode, organizing a critique of it, and bringing to a fuller articulation cinematic possibilities he innovated but did not entirely resolve. In Fuses, a new copulation between the filmic and the erotic is traced, one where female sexuality is enacted in a practice of mutuality. Dissatisfied with Brakhage's representation of her sexuality in Loving (1957) and Cat's Cradle (1959), the films he made about her relationship with James Tenney, Carolee Schneemann made her own vision, one that addresses the phallocentric imbalance of even Brakhage's best attempts to share authorship with a lover in the profilmic space. In doing so she was able to address the repression in culture generally of what she understood as the female principle. Her film is, then a polemically female representation of heterosexual eroticism, one that demonstrates its difference in almost all the phases of its production. Schneemann's intimate and graphic representation of sexual intercourse was historically anomalous; its explicitness appeared anti-feminist in the contexts of feminist attempts to differentiate erotica from pornography, and its fascination with the male as much as the female body was unusual outside homosexual pornography. As in Brakhage's participation films, this egalitarian representation follows from the lovers photographing each other during lovemaking, though Schneemann also photographed herself and used camera stands to photograph herself and Tenney together. The editing was entirely Schneemanns own work, but otherwise labor was not divided in the production of the profilmic nor in its recording. Thus reproduction of gender in power relations in the profilmic or in the control of the apparatus was avoided, as was phallocratie distribution of roles - the male as the scopophilic subject and the female as its object. The film so thoroughly interweaves shots of Schneemann and shots from her point of view, shots of Tenney and shots from his point of view, and of the two of them from no attributable point of view that narratorial positioning is entirely dissolved. The only stable persona implied is a black cat, its manifest sensuality is a purring correlative to the action, reminding us that in the textual plurality of the film's enfolding, it illustrates the pussy's point of view. Within this plurality, the organizing telos of the male orgasm - the end that orders the narrative and representational systems of contemporary pornography - is shunned. The montage does not insert the shots into the rhetorical figures of orthodox narrative economy, but rather disperses authorship and subjectivity as generalized functions of an indeterminate erotic field. Emotions are legible on the participants' faces and their existence outside sexual passion is fragmentarily glimpsed (but then only in contexts that feed back metaphorically into the iconographie field - she running on the beach and he driving a car), but these do not articulate psychological dimensions of character. The lovers are not unified, discrete subjects within the erotic activity, so much as the vehicle of an eroticism that possesses them. The urgency in which their individual lineaments are subsumed inheres as thoroughly in Schneemanns physical encounter with the material of film as it does in her encounter with the body of James Tenney. …" @default.
• W346726309 created "2016-06-24" @default.
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• W346726309 date "2011-10-01" @default.
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• W346726309 title "Carolee Schneemann: Fuses" @default.
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