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Artículos de revistas sobre el tema "Voyeurism in art"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 28 de febrero de 2023

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1

Sheveleva, Svetlana y I. Teneneva. "VOYEURISM: CRIMINAL AND CRIMINOLOGICAL ASPECTS". Scientific Notes of V. I. Vernadsky Crimean Federal University. Juridical science 7, n.º 3 (12 de diciembre de 2022): 209–22. http://dx.doi.org/10.29039/2413-1733-2021-7-3(2)-209-222.

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One of the types of paraphilia is voyeurism, i.e., secretly spying on the intimate actions of other people. From the point of view of medicine, voyeurism is recognized as a disorder of sexual preference, in art it has found expression in the paintings of famous masters, but from the point of view of morality it remains in the plane of religiously conditioned prohibitions, and psychologists say that the considered form of sexual behavior is dangerous not only for the psyche of the actor, but also for the victim. Within the framework of the presented research, the authors offer an analysis of the legal reaction of foreign countries to this form of sexual deviation, consider the types of punishments, and also present a criminological portrait of voyeurism. In the legal systems of foreign countries (Great Britain, Belgium, Singapore), voyeurism is recognized as a sexual crime; in the United States, Germany, New Zealand, and some states of Australia, the act in question is recognized as a crime that violates the «right to privacy». Separate statistical data on the specified acts in separate countries (where such counting is conducted) are presented, the reasons of growth of such encroachments and ways of their implementation are defined. In Russia, such acts receive a criminal-legal assessment on the grounds of Article 137 of the Criminal Code of the Russian Federation, which should be considered as a «legislative compromise», since in the actions of a voyeur, the main motive is sexual, and violation of privacy is not the goal. Some statistical data indicate an increase in such attacks in the world, but in Russia, the paraphilia in question is mainly the subject of research by psychologists, sexologists, and journalists. No serious criminological or criminal law studies were conducted. The presented research is the first attempt to study this phenomenon in the legal aspect, suggesting the beginning of a scientific discussion. It is concluded that in the conditions of digitalization of society, voyeurism as a form of sexual deviation will continue to develop, so it is necessary to adopt a set of legal measures aimed at protecting the rights of victims.

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2

Lipszyc, Adam. "Affect Unchained: Violence, Voyeurism and Affection in the Art of Quentin Tarantino". Eidos. A Journal for Philosophy of Culture 4, n.º 2 (12 de agosto de 2020): 128–38. http://dx.doi.org/10.14394/eidos.jpc.2020.0021.

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3

Watson, Robert N. "Wherefore Art Thou Tereu? Juliet and the Legacy of Rape". Renaissance Quarterly 58, n.º 01 (2005): 127–56. http://dx.doi.org/10.1353/ren.2008.0677.

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Abstract Commentators on Shakespeare’s Romeo and Juliet — perhaps mesmerized by the play’s reputation as an exemplar of pure love — have overlooked its references to the most notorious rapists of classical culture: Tereus, Hades, Tarquin, and Paris. Our point is not to accuse Romeo, but instead to demonstrate that Shakespeare characteristically hints at crimes that only flicker through the minds of potential perpetrators and victims, who must draw on a collective cultural legacy to judge, articulate, and control those possibilities. Reducing the play’s spectrum of sexual aggression (including voyeurism, insincere seduction, displaced phallic violence, angry possessiveness, and forced marriage) into a neat binary of rape and consent may be socially desirable, but it erases the ethical and psychological complexity of adolescent courtship. Ignoring the ancient specter of rape haunting this story also precludes recognizing what Juliet does heroically to exorcise it.

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4

Nurbaiti, Alya y Irham Nur Anshari. "Privacy Management in Social Network Sites: A Case Study on the Use of Finstagram for Mediated Voyeurism". Jurnal Media dan Komunikasi Indonesia 1, n.º 2 (24 de septiembre de 2020): 114. http://dx.doi.org/10.22146/jmki.55012.

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In 2015, Instagram users started to create secondary accounts dubbed finstagram (fake Instagram) to fulfill the unmet needs of using the main account. Among the needs is to do mediated voyeurism or stalking — the act of watching other’s lives through the means of the media — safely. Prior Instagram studies have been more focused on the self-disclosure discourse while analysis on the voyeurs as consumers of disclosure is lacking. Using the case study method, this paper records the exercise of mediated voyeurism through finstagram and the privacy management that occurs within. The result shows that the use of finstagram for mediated voyeurism is driven by the perceived privacy risk (perceived risk of possible privacy violations). The perceived privacy risk encourages voyeur to navigate privacy management by adopting protecting behavior, or various forms of action taken to protect the exercise of stalking.

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5

Heitmann, Annegret. "Nordic Modernists in the Circus. On the Aesthetic Reflection of a Transcultural Institution". Humanities 7, n.º 4 (6 de noviembre de 2018): 111. http://dx.doi.org/10.3390/h7040111.

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Around 1900 the circus was not only an important and highly popular cultural phenomenon all over Europe, but also an inspiration to writers and artists at the onset of Modernism. As an intrinsically intermedial form with international performers, it can be seen as an expression of certain important characteristics of modern life like innovation, mobility, dynamics, speed and vigor. Its displays of color and excitement, of bodies in motion and often provocative gender relations were experienced by authors as a challenge to create new aesthetic forms. However, the circus does not only figure prominently in well-known works by Kafka and Thomas Mann and paintings by Degas, Macke or Leger, it is also thematized in texts by Scandinavian authors. When writers like Henrik Ibsen, Herman Bang, Ola Hansson and Johannes V. Jensen referred to the circus in their works, they represented it as an experience of modernity and addressed themes like alterity, mobility, voyeurism, new gender relations and ambivalent emotions. As a self-reflexive sign, the circus even served to represent the fragile status of art in modernity and thus made an important contribution to the development of Modernism.

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6

Van Niekerk, Retha. "Music videos as cultural artefacts of the eighties". Communicare: Journal for Communication Studies in Africa 11, n.º 1 (7 de noviembre de 2022): 44–56. http://dx.doi.org/10.36615/jcsa.v11i1.1986.

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A overview of the development of movements in art and music during the twentieth century is given to place music videos in perspective as cutural phenomena reflecting certain artistic, philosophical and social tendencies of the present. Music videos, are seen against the back ground of the semiological view that a cultural artefact does not simply reflect society, it also acts as a "signifying practice with its own determinate product: meaning" (Hall 1980:30). A semiological approach Incorporating concepts from structuralism, psychoanalysis, feminism and post-structuralism is used to construct a theoretical model for the analysis of meanings in the visual images of music videos. In the theoretical model three levels of meaning, namely denotative, connotative and mythical, are distinguished with certain qualititative elements defined on each level The denotative level or the level of reality contains iconic signs, indexical signs and symbolical signs. Other qualitative elements include characters, setting, and descriptions of primary movements. The connotative level or the level of representation includes television codes (non-filmic and filmic), narrative codes and intertextual codes The level of myth or the level of ideology includes stylistic or textual devices such as metaphors, allegories, fetishism, voyeurism and parody. This article is that music videos function as mod- ern artefacts which have the potential to express complex cultural meanings to signal a new Weltanschauung (Lorch 1988:143)

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7

Karpinski, Eva C. "Hélène Cixous’s „The Exile of James Joyce”: A Biographical Limit Case". Anglica Wratislaviensia 55 (18 de octubre de 2017): 35–45. http://dx.doi.org/10.19195/0301-7966.55.3.

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This article examines Hélène Cixous’s biographical monograph The Exile of James Joyce as a limit case of biographical praxis. Joyce’s biography is read in the context of Cixous’s own evolving personal motif of exile, revealing her autobiographical investment in becoming a writer through reading Joyce. She pushes the boundaries of the biographical genre at the intersections of autobiography, literary criticism, and biography, defying simple generic classifications and exposing the limits of conventional demarcations between the artist, the work, the biographer, and the critic. As a result, the text becomes a creative-interpretive hybrid project, where the biographical code has been displaced by focus on epistemological, psychological, and textual problems implicit in the relationship between the biographer and the biographical subject. Her approach invites us to consider the following questions: How does she rewrite Joyce through her own multiple experiences of exile that she also shares with Jacques Derrida? What difference does gender make in the construction of the biographical subject as the great modernist “genius”? How does gender marginalization impact her authority as a biographer? The discussion is also framed through some larger questions concerning the aesthetic, epistemological, ethical, and political role of biography in approaching modernist literature and culture: Is biography an art or a craft? What kind of knowledge does biography generate? How far is biography a form of discursive violence and voyeurism? How can attention to affect and intimacy offer new insights into the aesthetics of the biographical genre?

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8

LAVRENOVA, OLGA A. "“THE SEAMY SIDE OF THE CITY”: MARGINAL LANDSCAPES AND CONTEMPORARY VISUAL CULTURE". ART AND SCIENCE OF TELEVISION 17, n.º 2 (2021): 61–87. http://dx.doi.org/10.30628/1994-9529-2021-17.2-61-87.

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The topic of people thrown to the sidelines of life is considered in a double frame—in the context of the way the urban space is arranged and in the context of modern visual culture (feature films, video and photo blogs, videos on popular YouTube channels). The most hyped-up type of marginal landscape in modern media is slums. The otherness of such spaces has always been a subject of interest and curiosity, for “gazing”—interpretation, perception and entertainment. In modern mass culture, the “location” of the global south slums is especially trendy. In such exterior, hyper-popular feature films such as Slumdog Millionaire have been shot, causing a new cultural phenomenon—mass slum tourism. This phenomenon seems to be ambiguous from an ethical point of view; but from the point of view of visual culture, it is voyeurism brought to the level of an art and everyday life practice. The second type of marginal urban landscapes is local “invasion” into the decent and institutionalized city space. This art form serves as a “location” for a psychological drama of superfluous people. Features of national identity are most clearly manifested on its seamy side rather than anywhere else. Japanese townships of the homeless, incorporated into central and well-to-do areas, are no strangers to order and aesthetics; while Russian realities—chaos, departure from norms and underground—are completely opposite. Classic films devoted to this issue—Dodes’ka-den by Akira Kurasawa, Promised Heaven by Eldar Ryazanov, The Lady in the Van by Nicholas Hytner—model these seamy spaces and their peculiarities inherent in national culture. Very popular now are YouTube channels about the life of homeless people, which show real characters in their real habitats, introducing marginal spaces into the rank of a hot-topic visual culture. This type of visualization provokes another cultural phenomenon— the perception of marginal loci and their inhabitants as an interactive performance. Interactivity can vary from attacking to fraternization, from preaching to charity. Odd as it may seem, hyper-visualization and aestheticization of social ulcers contributes to their social invisibility. It is a problem, which no one is going to solve anymore; it has become a part of modern culture with its own philosophical and aesthetic arguments—and in a certain sense they act as its justification.

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9

LAVRENOVA, OLGA A. "“THE SEAMY SIDE OF THE CITY”: MARGINAL LANDSCAPES AND CONTEMPORARY VISUAL CULTURE". ART AND SCIENCE OF TELEVISION 17, n.º 2 (2021): 61–117. http://dx.doi.org/10.30628/1994-9529-2021-17.2-61-117.

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The topic of people thrown to the sidelines of life is considered in a double frame—in the context of the way the urban space is arranged and in the context of modern visual culture (feature films, video and photo blogs, videos on popular YouTube channels). The most hyped-up type of marginal landscape in modern media is slums. The otherness of such spaces has always been a subject of interest and curiosity, for “gazing”—interpretation, perception and entertainment. In modern mass culture, the “location” of the global south slums is especially trendy. In such exterior, hyper-popular feature films such as Slumdog Millionaire have been shot, causing a new cultural phenomenon—mass slum tourism. This phenomenon seems to be ambiguous from an ethical point of view; but from the point of view of visual culture, it is voyeurism brought to the level of an art and everyday life practice. The second type of marginal urban landscapes is local “invasion” into the decent and institutionalized city space. This art form serves as a “location” for a psychological drama of superfluous people. Features of national identity are most clearly manifested on its seamy side rather than anywhere else. Japanese townships of the homeless, incorporated into central and well-to-do areas, are no strangers to order and aesthetics; while Russian realities—chaos, departure from norms and underground—are completely opposite. Classic films devoted to this issue—Dodes’ka-den by Akira Kurasawa, Promised Heaven by Eldar Ryazanov, The Lady in the Van by Nicholas Hytner—model these seamy spaces and their peculiarities inherent in national culture. Very popular now are YouTube channels about the life of homeless people, which show real characters in their real habitats, introducing marginal spaces into the rank of a hot-topic visual culture. This type of visualization provokes another cultural phenomenon— the perception of marginal loci and their inhabitants as an interactive performance. Interactivity can vary from attacking to fraternization, from preaching to charity. Odd as it may seem, hyper-visualization and aestheticization of social ulcers contributes to their social invisibility. It is a problem, which no one is going to solve anymore; it has become a part of modern culture with its own philosophical and aesthetic arguments—and in a certain sense they act as its justification.

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10

Tian, Zhang. "Urban Gothic and the Sphinx Factor: Saul Bellow’s Mr. Sammler’s Planet". Interlitteraria 23, n.º 1 (5 de agosto de 2018): 124–35. http://dx.doi.org/10.12697/il.2018.23.1.13.

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Saul Bellow, as a cerebral, analytical, and philosophical writer, unflinchingly describes the world and gives the readers tremendous thoughts about life and society. He was awarded the Nobel Prize in Literature in 1976 for his human understanding and subtle analysis of contemporary culture. In Mr. Sammler’s Planet, Bellow shows the readers a death-burdened, rotting, spoiled, sullied, exasperating, sinful earth. This insane world is full of droll mortality and morbid entertainments. The coexistence of rationality and bestiality in man is vividly displayed in this novel. In his Introduction to Ethical Literary Criticism, Professor Nie Zhenzhao formulated the theory of the Sphinx factor as composed of the human factor and the animal factor, and the combination of the two makes an integrated man. The animal factor in the novel is fully demonstrated in the black pickpocket’s bestiality, Mr. Sammler’s voyeurism, the Holocaust, killings and thefts. However, the human factor is not so salient as the animal factor in this novel. I argue that the tension between the two factors not only intensifies the conflicts but shows how the author perceives the world. Bellow shows a strong contempt for the world. A pessimistic and critical outlook is conveyed in Bellow’s understanding of cities, represented by Chicago and New York. Robbery, cheating, speculation, beauty, money and lust construct a corrupted panorama of industrial cities. This is one of the reasons why Bellow highlights the animal factor more than the human factor. He seeks to criticize the American city from different perspectives of city culture, including the corruption of the bureaucracy, vices in public transport, changes in the urban landscape, competition between the pursuit of art and the pursuit of money.

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11

Pereira, Ana Catarina. "A infindável procura de um traço identitário: existirá uma estética feminina?" Fotocinema. Revista científica de cine y fotografía, n.º 6 (17 de marzo de 2013): 77–96. http://dx.doi.org/10.24310/fotocinema.2013.v0i6.5910.

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Resumo: No âmbito das teorias feministas do cinema, e dos estudos fílmicos em geral, algumas questões têm sido levantadas ao longo das últimas décadas, nomeadamente no que diz respeito à exigência de uma maior representatividade feminina no mundo da realização e produção cinematográficas. Sendo o olhar do espectador, como Laura Mulvey sugeriu, pressupostamente masculino, treinado por realizadores com fantasias e tendências voyeuristas homogéneas, a questão seguinte seria inevitável: poderá este mesmo olhar assumir características distintas, quando mediado por uma mulher? Poderá a arte, ao contrário dos anjos, ter sexo? Existirá, neste sentido, uma “estética feminina”, como Silvia Bovenschen, em artigo homónimo, publicado em Setembro de 1976, procura antecipar? Procurá-la não implicará um aprofundar de estereótipos associados à feminilidade e à masculinidade, todos eles redutores, segundo o ponto de vista de Michel Foucault e Judith Butler, bem como a atribuição de um certo carácter de exotismo, pela falta de representatividade nos circuitos artísticos? Enunciando e debatendo os principais argumentos dos autores mencionados, propomo-nos, no presente artigo, responder às questões colocadas. Palavras-chave: voyeurismo; espectadora; ausência; receptividade; identificação. Abstract: In the context of feminist theories of cinema, and film studies in general, some questions have been raised in the past few decades, concerning the need for a greater representation of women in the world of film making and production. Accepting the idea of a viewer gaze, as Laura Mulvey suggested, supposedly male, trained by directors with fantasies and uniformed voyeuristic tendencies, the next question is inevitable: might this gaze have different characteristics when mediated by a woman? Can the art, unlike the angels, have sex? Is there, in this sense, a “feminine aesthetic”, as Silvia Bovenschen, on an article with the same name, published in September 1976, looks forward to anticipate? To look for it does not imply a deepening of stereotypes associated with femininity and masculinity, all reducers, according to the point of view of Michel Foucault and Judith Butler, as well as the assignment of a certain exoticism’ character, motivated by the lack of representation in the art circuit? Outlining and discussing the main arguments of the authors above mentioned, we propose, in this paper, to answer these questions. Keywords: voyeurism; female spectator; absence; receptivity; identification.Resumen: “Las mujeres son diferentes, y una manifestación natural de esta diferencia (nota bene!) es precisamente el hecho de que son incapaces de producir arte.” (Bovenschen, 1976: 115).Haciéndose eco del paralelismo ya realizado por Simone de Beauvoir en el ensayo El segundo sexo, Silvia Bovenschen vuelve, en un artículo publicado en 1976 que nos proponemos discutir aquí, a la asociación asumida entre una perspectiva descriptiva masculina y la verdad absoluta. En su opinión, el dominio de la producción artística por el género masculino habrá originado una inaccesibilidad y una extrañeza relativas a la otra mitad de la población, que se denuncia por el carácter de exotismo que muchos críticos votaron a los pocos, y de cierta forma lejos entre si mismos, objetos culturales producidos por las mujeres, a lo largo de la historia. Otra consecuencia natural de este fracaso, descrito por el uso del término déficit, importado del lenguaje economicista, todavía sería, a nuestro juicio, una segregación de la dicha producción en una sola clase: una escritura femenina, una mirada femenina, un rasgo femenino. Con la restricción, la incertidumbre se multiplica: la escritura femenina es la que centra su atención en mujeres fuertes y decididas, la que demuestra una sensibilidad y capacidad de observación característica de un género, o la que construye una narrativa entrecruzada, por la sociológicamente establecida capacidad de realizar múltiples tareas asociadas al mismo sexo?

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12

Gillespie, Alisdair A. "Tackling Voyeurism: Is The Voyeurism (Offences) Act 2019 A Wasted Opportunity?" Modern Law Review 82, n.º 6 (11 de junio de 2019): 1107–31. http://dx.doi.org/10.1111/1468-2230.12441.

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13

López González, Luis F. "The Gendered Gaze: Torrellas’ Sadistic “Martyrdom” in Grisel y Mirabella". Revista Canadiense de Estudios Hispánicos 41, n.º 2 (10 de enero de 2017): 349–27. http://dx.doi.org/10.18192/rceh.v41i2.2152.

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La escena del “martirio” antropófago de Torrellas en Grisel y Mirabella está cargada de significado simbólico que los críticos han interpretado de diferentes maneras. Sin embargo, se ha ignorado el papel que desempeñan las teorías visuales para establecer sistemas de poder en la interacción óptica entre las ejecutoras y el ejecutado. Este estudio sostiene que la reina y sus damas usurpan la mirada masculina y convierten a Torrellas en un(a) “mártir” virginizada que recuerda las narraciones martiriológicas y cristológicas, transformándolo en un fetiche erótico para satisfacer su placer voyerístico. Palabras clave: mirada, sadismo, martirio, voyeurismo, Grisel y Mirabella The scene of Torrellas’ cannibalistic “martyrdom” in Flores’s Grisel y Mirabella is fraught with symbolic meaning, which scholars have interpreted in sundry ways. Critics have neglected the role visual theories play in establishing systems of power in the optic interaction between the executrixes and the victim. This analysis aims at showing the role-inversion of the male, objectifying gaze. This essay argues that the queen and her ladies usurp the male gaze and turn Torrellas into a virgin-like “martyr” in a way that resembles martyrological and Christological narratives, turning him into an erotic fetish for the sake of their voyeuristic pleasure. Keywords: gaze, sadism, martyrdom, voyeurism, Grisel y Mirabella

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14

Gonzaga, Elmo. "The Cinematographic Unconscious of Slum Voyeurism". Cinema Journal 56, n.º 4 (2017): 102–25. http://dx.doi.org/10.1353/cj.2017.0042.

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15

Bernheimer, Charles. "Degas's Brothels: Voyeurism and Ideology". Representations 20, n.º 1 (octubre de 1987): 158–86. http://dx.doi.org/10.1525/rep.1987.20.1.99p0191t.

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Bernheimer, Charles. "Degas's Brothels: Voyeurism and Ideology". Representations 20 (1987): 158–86. http://dx.doi.org/10.2307/2928506.

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Aurora Pimentel, Luz. "Los celos en Proust y Shakespeare: un caso de voyeurismo narrativo". Anuario de Letras Modernas 14 (31 de julio de 2009): 51–62. http://dx.doi.org/10.22201/ffyl.01860526p.2008.14.672.

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Voyeurism is often the mise en scene the jealous man builds in his imagination both to goad and relish in his anguish at the thought of his/her beloved being possessed by the rival—real or imaginary. The mise en scene may also be real or imaginary but the spatial parameters and the conditions of visibility are always the same: the lover, always excluded from the joys of those who he thinks are betraying him physically separated from the scene he just watches in intolerable pain, even if it is in his "mind’s eye". But what happens when a fourth party comes into play? A mediator who narrates the scene for the jealous lover? This is the extraordinarily convoluted situation in two otherwise culturally and temporally very different works dealing with jealousy: William Shakespeare’s Othello, and Marcel Proust’s A la recherche du temps perdu. The element of narrative introduces a disturbing factor in the already complex triangular relationship amongst the lover, the beloved and the rival—which is never as unidirectional as it seems—because the narrator himself is not a disinterested party. Such a complex inter action among four actors—subjects and objects of desire by turns—further mediated by an act of voyeurism, is what I have, somewhat facetiously, I admit, called jealousy as a case of narrative voyeurism.

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18

Greig, David. "‘I Let the Language Lead the Dance’: Politics, Musicality, and Voyeurism". New Theatre Quarterly 27, n.º 1 (febrero de 2011): 3–13. http://dx.doi.org/10.1017/s0266464x11000017.

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David Greig is one of Britain's most versatile and exciting playwrights, whose awardwinning work – commissioned by, among others, Suspect Culture, the Royal Shakespeare Company, the National Theatre of Scotland, the Edinburgh International Festival, and the Traverse Theatre – has been performed all over the world. His personal voice is characterized by the sensitive musicality of his text, an individual sense of humour, and an acute awareness of the world around us. Whether his protagonists are Cambridge ornithologists, Scottish lords, or American pilots, Greig creates works of extreme visual beauty and emotional directness in lyrical soundscapes. In the interview which follows, completed in June 2010, he discusses the themes of politics and national identities; language, music, and experimental forms; directors, directing, and adaptations; and watching bodies on stage. Greig believes that theatre is a form of voyeurism, ‘a consensual exchange’ to ‘look at people and watch how they behave’. In his work, the act of watching thus acquires a new role surpassing the simple function of pleasure, and enabling the viewer to engage further with the theatre's mediation to comment, justify, explain, and promote a better understanding of the complexities of human nature – voyeurism in theatre being re-read as a new freedom of the gaze, and its fetishistic attributes re-evaluated as an emancipation of restrained energy, testing the boundaries of taboo. George Rodosthenous is Lecturer in Music Theatre at the School of Performance and Cultural Industries of the University of Leeds. He is Artistic Director of the Altitude North theatre company, and also works as a freelance composer for the theatre. He is currently working on the book Theatre as Voyeurism: the Pleasure(s) of Watching.

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19

Garnett, Mary Anne y Dorothy Kelly. "Telling Glances: Voyeurism in the French Novel". South Central Review 10, n.º 4 (1993): 98. http://dx.doi.org/10.2307/3190061.

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20

Boczkowska, Kornelia. "The crime scene that never is, or how Echo plays with the forensic gaze". Short Film Studies 11, n.º 1 (1 de enero de 2021): 107–12. http://dx.doi.org/10.1386/sfs_00041_1.

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Through reconstructing the crime scene, Echo undermines the omniscient power of the forensic gaze and problematizes the relationship between the image and haptic spectatorship. While eliminating the spectacle and affect, the camera intensely lingers on characters’ facial image to engage viewers in the voyeurism of an absent scene of violence.

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21

Orvell, Miles. "Weegee's Voyeurism and the Mastery of Urban Disorder". American Art 6, n.º 1 (enero de 1992): 19–41. http://dx.doi.org/10.1086/424139.

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22

Holmes, Ronald M., Richard Tewksbury y Stephen T. Holmes. "Hidden JPGs: A Functional Alternative to Voyeurism". Journal of Popular Culture 32, n.º 3 (diciembre de 1998): 17–29. http://dx.doi.org/10.1111/j.0022-3840.1998.3203_17.x.

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23

Muzzarelli, Federica. "Voyeurism and erotic stereotypes in fashion photography: Modernity and postmodernity from the Countess of Castiglione to Helmut Newton". Fashion, Style & Popular Culture 8, n.º 2 (1 de mayo de 2021): 189–204. http://dx.doi.org/10.1386/fspc_00078_1.

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Voyeurism and desire are drives linked ontologically to the identity of the photographic and fashion system. Photographing someone is always an act of voyeuristic possession of something that belongs to another, or at least to the surrounding reality that one seeks to ‐ fetishistically ‐ appropriate. But the voyeuristic exercise of photography lives and is nourished by stimulating the exhibitionism of what is in front of the machine’s lens, thus completing and giving meaning to each other. When the context being photographed is fashion, the conditions of insistent voyeurism and intense desire (of emulation, projection, appropriation) become one with the very meaning of the image. In fact, moving from behaviour to the object, most of fashion’s photographic tradition can be traced back to an atmosphere of soft winking and erotic fantasy of the look. In this article, we take into consideration two well-known events that are generically associated with voyeurism and eroticism of the photographic image and fashion, reading them as a parable of the history of the male gaze of women’s bodies: from the triumph of the stereotype in the modern age to its sudden upheaval in the postmodern age. The first case is that of the Countess of Castiglione, who from the mid-nineteenth century was already able to demonstrate how photography could solidify male erotic imagery and, in so doing, present fashion as the style and attitude of an era. In contrast, we find Helmut Newton, famous and acclaimed fashion photographer and exceptional interpreter of the excesses of the eighties, able to bring that male erotic imagery to such exaggerations in the use of codes to make it almost harmless, cooling it.

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24

Weinstock, Jane. "Screening Memories". October, n.º 176 (2021): 73–83. http://dx.doi.org/10.1162/octo_a_00427.

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Abstract Through the lenses of feminism and psychoanalysis, this essay traces the use of screens, both literal and metaphoric, in the performance and video-installation works of the multi-disciplinary artist Suzanne Bocanegra. These complex pieces engage with ideas around voyeurism, identification, and screen memory, evoking Bocanegra's idiosyncratic cultural history of the nineteenth and twentieth centuries.

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25

Långström, Niklas. "The DSM Diagnostic Criteria for Exhibitionism, Voyeurism, and Frotteurism". Archives of Sexual Behavior 39, n.º 2 (19 de noviembre de 2009): 317–24. http://dx.doi.org/10.1007/s10508-009-9577-4.

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Papaioannou, Spyros. "Immersion, ‘smooth’ spaces and critical voyeurism in the work of Punchdrunk". Studies in Theatre and Performance 34, n.º 2 (22 de abril de 2014): 160–74. http://dx.doi.org/10.1080/14682761.2014.899746.

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Kevin Ohi. "Voyeurism and Annunciation in Almodóvar’s Talk to Her". Criticism 51, n.º 4 (2010): 521–57. http://dx.doi.org/10.1353/crt.2010.0004.

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28

Thomas, Andrew George, Bridie Stone, Paul Bennett, Steve Stewart-Williams y Leif Edward Ottesen Kennair. "Sex Differences in Voyeuristic and Exhibitionistic Interests: Exploring the Mediating Roles of Sociosexuality and Sexual Compulsivity from an Evolutionary Perspective". Archives of Sexual Behavior 50, n.º 5 (julio de 2021): 2151–62. http://dx.doi.org/10.1007/s10508-021-01991-0.

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AbstractSociosexuality and sexual compulsivity predict sex differences in voyeuristic interest in the population. In this study, we used a sample of 1113 participants from the UK (46% men) to consider whether sociosexuality and sexual compulsivity interacted to explain these sex differences and whether this relationship extended to the related domain of exhibitionism. In doing so, we tested novel predictions derived from an evolutionary perspective which views voyeuristic and exhibitionistic interest as manifestations of a short-term mating strategy. Participants reported their levels of repulsion toward voyeurism and exhibitionism and their interest in performing such acts under different levels of risk. There were clear sex differences in voyeuristic and exhibitionistic repulsion that were partially mediated by the serial combination of sociosexuality and sexual compulsivity. Examining the sexes separately revealed qualitatively different relationships between sociosexuality and sexual compulsivity when predicting exhibitionistic, but not voyeuristic, repulsion. Combined, sociosexuality and sexual compulsivity also mediated the sex difference in willingness to commit acts of voyeurism, but not exhibitionism, which was equally low for both sexes. The results highlight the role sociosexuality plays in voyeuristic and exhibitionistic interest, which coupled with an evolutionary perspective, may have implications for how we view courtship disorders.

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Schwartz, Regina. "Rethinking Voyeurism and Patriarchy: The Case of Paradise Lost". Representations 34, n.º 1 (abril de 1991): 85–103. http://dx.doi.org/10.1525/rep.1991.34.1.99p0048w.

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Schwartz, Regina. "Rethinking Voyeurism and Patriarchy: The Case of Paradise Lost". Representations 34 (1991): 85–103. http://dx.doi.org/10.2307/2928771.

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Kirshenblatt-Gimblett, Barbara. "Kodak Moments, Flashbulb Memories: Reflections on 9/11". TDR/The Drama Review 47, n.º 1 (marzo de 2003): 11–48. http://dx.doi.org/10.1162/105420403321249983.

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The catastrophe of 9/11 transformed life in New York City. Grassroots responses were spontaneous, improvised, and ubiquitous. Every surface was blanketed with candles, flowers, flags, and missing persons' posters that became the focal point of shrines memorializing the missing and presumed deceased. The catastrophe produced a series of equivocal situations: Kodak moment or surrogate body? Crime scene or tourist attraction? Missing person notice or obituary? Cheap souvenir or involuntary memento? Voyeurism or mourning? Above all, the question of documentation: When, where, and how should documentation of memorials be exhibited?

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32

Topor, Lev y Moran Pollack. "Fake Identities in Social Cyberspace". International Journal of Cyber Warfare and Terrorism 12, n.º 1 (enero de 2022): 1–17. http://dx.doi.org/10.4018/ijcwt.295867.

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Personation - the act of assuming another’s identity with intent to deceive, is an ancient phenomenon. In this article we seek to research online impersonation and to uncover the causes for this phenomenon. We do so by analyzing and comparing several case studies while referring to more traditional concepts of social identity. As discovered, on the one hand users can create fake identities to enhance their personalities for personal reasons such as voyeurism or as means of escaping reality, or even promote human rights by avoiding local authoritarian censorship. On the other hand, malicious users like terrorists or criminals manipulate online users with phishing attempts and frauds, making social cyber space less secure.

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33

del Río, Elena. "The Body of Voyeurism: Mapping a Discourse of the Senses in Michael Powell's Peeping Tom". Camera Obscura: Feminism, Culture, and Media Studies 15, n.º 3 (2001): 115–49. http://dx.doi.org/10.1215/02705346-15-3_45-115.

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34

Wilson, Emma. "From Lampedusa to the California Desert: Gianfranco Rosi's Scenes of Living and Dying". Film Quarterly 71, n.º 3 (2018): 10–20. http://dx.doi.org/10.1525/fq.2018.71.3.10.

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Gianfranco Rosi's Fuocoammare (Fire at Sea, 2016), won the Golden Bear at the 2016 Berlinale, was shown to the European parliament, distributed to heads of state by Matteo Renzi, and has become the contemporary film most closely associated with the refugee crisis in the Mediterranean. This article considers the film alongside Rosi's earlier film about Slab City, California, Below Sea Level (2008), previously little seen in the US. Wilson argues that Rosi is more than a filmmaker of the migrant tragedy in Europe, radically important though his vision is of this moment. With and beyond Fuocoammare, all his films look at extreme experiences of living and dying. Inspired by the work of philosopher and psychoanalyst Anne Dufourmantelle on secrecy, love, tenderness and risk, Wilson considers how Rosi's films achieve a closeness to their characters: a sensory and emotional immediacy, whilst refusing voyeurism and intrusion.

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35

Mah, Alice. "The Dereliction Tourist: Ethical Issues of Conducting Research in Areas of Industrial Ruination". Sociological Research Online 19, n.º 4 (diciembre de 2014): 162–75. http://dx.doi.org/10.5153/sro.3330.

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Dereliction tourism is the act of seeking out abandoned industrial sites as sites of aesthetic pleasure, leisure or adventure. Drawing on research in areas of industrial ruination in Russia, the UK and North America, this article examines the role of the ‘dereliction tourist’ as a way of critically reflecting on the ethics of ‘outsider’ research. Ethical problems are associated with both dereliction tourism and ethnographic research in areas of industrial decline, including voyeurism, romanticization, and the reproduction of negative stereotypes about marginal people and places. However, both dereliction tourism and ethnographic research also share more positive ethical possibilities through offering alternative ways of imagining places and raising social justice awareness of issues related to deprivation and blight. Through considering the ambivalent figure of the dereliction tourist in relation to ethnography, this article advances a way of being in the research field through intrinsic ethical reflection and practice.

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Simon, Roger I. "Idolatry and the Civil Covenant of Photography: On the Practice of Exhibiting Images of Suffering, Degradation, and Death". IMAGES 4, n.º 1 (2010): 46–56. http://dx.doi.org/10.1163/187180010x547639.

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AbstractExhibiting perpetrator photographs of suffering and death presents a series of curatorial problems for museums and galleries. Unlike photojournalist images taken to inform a social conscience, the initial creation and circulation of such photographs have historically been implicated in the violence they depict. Beyond skepticism as to photography’s capacity to arouse a moral impulse, exhibitions of perpetrator photographs have been criticized for promoting voyeurism and extending suffering through the reiteration of images of human degradation. I consider how a problem central to Jewish theology might speak to such curatorial concerns, specifically the question of what constitutes the practice of idolatry. In this context I explore issues related to the ethics of visuality, developing the implications of Leora Batnitzky’s reading of Franz Rosenzweig’s cultural writings for my own concerns regarding the museological practice of public history.

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37

Davis Kempton, Stefanie. "Erotic Extortion: Understanding the Cultural Propagation of Revenge Porn". SAGE Open 10, n.º 2 (abril de 2020): 215824402093185. http://dx.doi.org/10.1177/2158244020931850.

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Revenge porn is a growing problem in current U.S. media culture. According to the Data & Society Institute, one in 10 women under the age of 30 have been victims of or threatened with having their private sexually explicit images shared with the public without their consent. Most of the current research on revenge porn is from a legal perspective, dealing with issues of privacy and copyright. This article uses feminist phenomenology to explore the cultural influences of revenge porn, specifically the prevalence of the male gaze and male voyeurism in mainstream media. Understanding how revenge porn is situated in culture will allow for a better understanding of potential sites of resistance. This article argues for critical pedagogy and media literacy as possible solutions.

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38

PINE, EMILIE, MAEVE CASSERLY y TOM LANE. "Walks of Experience: Site-Specific Performance Walks, Active Listening and Uncomfortable Witnessing". Theatre Research International 45, n.º 1 (28 de febrero de 2020): 22–36. http://dx.doi.org/10.1017/s0307883319000567.

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Digital-audio performance walks can be powerful performances, responding to troubling pasts, giving voice to testimony, and creating an affective geography that satisfies a participant's desire to connect with the city rather than just walk through it. Yet digital-audio performance walks also raise questions about performance and voyeurism, and the disconnection of private headphone experience, alongside issues of agency, detachment and appropriation. This article addresses key issues associated with digital-audio performance walks, using two case studies of performance walks (from Israel and Ireland), that aim to communicate politically charged and painful histories, which are at once ‘now’ and ‘then’, ‘here’ and ‘there’. The article considers some of the risks in digital-audio performance walks: dark tourism, privatization and empathic quietism. Finally, the article assesses what creative strategies are available to creators – and audiences – to make collaborative performance walks that galvanize spectators to become active witnesses.

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39

Levering, Marijean. ": The Cinematic Society: The Voyeur's Gaze . Norman K. Denzin." Film Quarterly 51, n.º 3 (abril de 1998): 66. http://dx.doi.org/10.1525/fq.1998.51.3.04a00110.

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40

Partearroyo, Manuela. "The beauty in the beast and the beast in the beauty. The voyeur’s view". Escritura e Imagen 16 (16 de diciembre de 2020): 57–69. http://dx.doi.org/10.5209/esim.73025.

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This paper would like to analyse two films, The Elephant Man (David Lynch, 1981) and Blow up (Michelangelo Antonioni, 1966) and one classic myth, Mary Shelley’s Frankenstein, through the very poignant figure of the voyeur. We will investigate this observer of the unnamable focusing on two characters, two eyewitnesses: the scientist who discovers John Merrick and the photographer who becomes obsessed with finding a corpse in an amplified picture. Both these voyeurs seem to be in search of the bewitching and sublime darkness that lies within, a search that in a way is inaugurated by the Promethean doctor at the break of Modernity. The corporeal distance between monster and voyeur creates the unbearable morbidity that devours our gaze. And at that exact point, the figures are reversed and the voyeur becomes the actual monster. Soon enough, we discover that their perspective as voyeurs becomes ours, because through the cinematic experience the spectator becomes witness of the crime, part of the freak show, morbid viewer of the abject. Lynch and Antonioni, together with Shelley’s creature and creator, put the question of the body through a microscope and dare us spectators to look inside, to find the morbidity of truth and the limits of art.

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41

Westerwelle, Karin. "Pourquoi condamner « Les Bijoux » ?" Romanic Review 113, n.º 3 (1 de diciembre de 2022): 329–43. http://dx.doi.org/10.1215/00358118-10055067.

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Résumé Le poème « Les Bijoux » de Charles Baudelaire, condamné par la censure du Second Empire, invite le lecteur à assister à un défilé d’images concernant une femme de couleur brune, ornée de bijoux et fardée, qui offre au regard spectateur sa nudité en dansant. La fascination érotique s’exprime par une dynamique poétique qui crée un vaste espace de références littéraires et picturales évoquant des scènes érotiques (Les Bijoux indiscrets de Diderot, le Cantique des Cantiques, l’odalisque peinte par Delacroix, Antiope peinte par Le Corrège) tout en ayant pour but de créer un « nouveau dessin » poétique. Celui-ci consiste en premier lieu en un accouplement des formes corporelles masculines et féminines et, en second lieu, en une projection de reflets fluides en mouvement qui rappellent le procédé de la phantasmagorie. Au niveau textuel, cette fluidité de la forme correspond à un art des mots critique et subversif qui sous l’exposition superficielle du corps fait voir le voyeurisme, le principe économique, l’assujettissement de la femme nue et du moi lyrique essayant de se libérer des images de convention.

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42

Strukov, Vlad. "Video Anekdot: Auteurs and Voyeurs of Russian Flash Animation". Animation 2, n.º 2 (julio de 2007): 129–51. http://dx.doi.org/10.1177/1746847707078274.

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43

Mosher, Paul W. y Jeffrey Berman. "Book Review: Stalker, Hacker, Voyeur, Spy: A Psychoanalytic Study of Erotomania, Voyeurism, Surveillance, and Invasions of Privacy". Journal of the American Psychoanalytic Association 66, n.º 2 (abril de 2018): 381–86. http://dx.doi.org/10.1177/0003065118763549.

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44

Furnham, Adrian y Emmy Haraldsen. "Lay theories of etiology and ?cure? for four types of paraphilia: Fetishism; pedophilia; sexual sadism; and voyeurism". Journal of Clinical Psychology 54, n.º 5 (agosto de 1998): 689–700. http://dx.doi.org/10.1002/(sici)1097-4679(199808)54:5<689::aid-jclp15>3.0.co;2-9.

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45

Levering, Marijean. "Review: The Cinematic Society: The Voyeur's Gaze by Norman K. Denzin". Film Quarterly 51, n.º 3 (1998): 66. http://dx.doi.org/10.2307/1213607.

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46

Oriji, Peter Chibuzor, Ebiye S. Tekenah, Olakunle I. Makinde, Tonebimonyo J. Wagio, Nnamdi C. Nwanze y Barbara Eneni. "Isolated upper vaginal wall laceration in an underage: a need to re-examine child sexual abuse in South-South Nigeria." International Journal of Scientific Reports 7, n.º 4 (22 de marzo de 2021): 247. http://dx.doi.org/10.18203/issn.2454-2156.intjscirep20211041.

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<p>Child sexual abuse includes any sexual act between a minor and an adult, or between two minors, when one exerts power over the other. It involves forcing, coercing or persuading a child to engage in any type of sexual act. It also involves non-contact acts such as exhibitionism, exposure to pornography, voyeurism, and communicating in a sexual manner by phone or internet. An eight-year-old girl was rushed to the gynaecological emergency unit of the Federal medical centre, Yenagoa with complaints of a three-hour history of sudden onset vaginal bleeding following a fall astride in their house. There was no injury to the vulva and the child and her relatives denied any form of sexual abuse by anyone within or outside their home. She had examination under anaesthesia in theatre and a 3 cm laceration was identified at the proximal one-third of the left lateral wall of the vagina, covered with a blood clot; not bleeding actively. Repair was done and she was subsequently discharged home on the fourth post-operative day after counselling of mother and child. Child sexual abuse is common in our environment. Education and bonding with children, education of the public via outreaches, social media campaigns and other means possible, and improvement in the socio-economic situation of people will help reduce the incidence of child sexual abuse and encourage reporting and early disclosure where they occur.</p>

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47

Hinderliter, Andrew C. "Disregarding Science, Clinical Utility, and the DSM’s Definition of Mental Disorder: The Case of Exhibitionism, Voyeurism, and Frotteurism". Archives of Sexual Behavior 39, n.º 6 (12 de agosto de 2010): 1235–37. http://dx.doi.org/10.1007/s10508-010-9654-8.

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48

Mitschke, Samantha. "George Rodosthenous, ed. Theatre as Voyeurism: the Pleasures of WatchingBasingstoke: Palgrave Macmillan, 2015. 230 p. £55. ISBN: 978-1-137-47880-1." New Theatre Quarterly 32, n.º 1 (7 de enero de 2016): 98–99. http://dx.doi.org/10.1017/s0266464x15000937.

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Lorek-Jezińska, Edyta. "On Freaks, Voyeurs, and the Cultural Uses of the Freak Show in the Residents’ Art and CD-ROM Project". Rock Music Studies 8, n.º 2 (4 de mayo de 2021): 158–71. http://dx.doi.org/10.1080/19401159.2021.1956098.

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Javier, Jeffrey B. "Pornotopia". eTropic: electronic journal of studies in the Tropics 21, n.º 1 (30 de marzo de 2022): 373–87. http://dx.doi.org/10.25120/etropic.21.1.2022.3842.

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The poetry sequence “Pornotopia”—in coupling the words “pornography” and “utopia”, a world infused and suffused with desire—is an attempt to respond to the idea of “porno-tropics” where the white conqueror “feminizes the earth as a cosmic breast, in relation to which the epic male hero is a tiny, lost infant, yearning for the Edenic nipple” (McClintock, 1995, p. 22) and connects the “relationship between pornographic fantasies of the tropics and the brutal, often violent facts of conquest” (Balce, 2016, p. 40). “Pornotopia” continues the legacy of literary resistance that uses the linguistic tools of the master to subvert the insatiable lust of the empire, like in the poem “Land of Our Desire” by the Philippine poet Amador T. Daguio (1934/1989, p. 195), whose early works mark “the turning-point in Filipino poetry from, rather than in, English” (Abad, 1993, p. 23). Borrowing lyrical and stylistic tools from the 1984 poem “Sex Without Love” by Sharon Olds (p. 57), “Pornotopia” also explores the topography of voyeurism and the landscape of loveless sex.

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