The iconography of Asphyxiophilia: From fantasmatic fetish to forensic fact

This is a post print version of the article. The official published version can be accessed from the link below

Undoing violent masculinity: Lynne Ramsay’s You were never really here (2018)

Reviewers described Lynne Ramsay’s You Were Never Really Here (2018) as a “Taxi Driver for a new century.” Certainly, its narrative of an inarticulate killer who is also the would-be saviour of a lost and damaged “little white girl” recalls that of Scorsese’s 1976 film., and the two films share a fragmented, hallucinatory quality. Yet what such comparisons miss is both the devastating critique of this culturally powerful narrative to be found in Ramsay’s film, and the connections it makes between this paradigmatic story of a failed and violent but ultimately sympathetic white masculinity and another: that of the traumatising mother who is responsible for the violence of her psychotic son. In this article, I explore the nature of Ramsay’s critique, arguing that her film both refuses and interrogates both of these readings of gender. Ramsay’s protagonist, like Scorsese’s, is a traumatised war veteran, but his identification is not with a fantasised and recuperative ideal masculinity but with its feminised victims: girl and mother. His tragedy is not that he fails in his rescue attempt, or that he is in thrall to the “death mother”, but that he believes that the means of this rescue might be masculinity

A cinema of desire: cinesexuality and Guattari's a-signifying cinema

This article will first describe the benefits and risks in challenging projects of signification as they relate to feminism. I will then point out the ways in which the desiring event of cinema – what I have termed ‘cinesexuality’ – can reorient and rupture structures of signification through a focus on expression. The relation of cinesexuality to feminism will then be drawn, using Guattari’s notion of asemiotic bodies: the ‘homosexual’ and ‘woman’. This will be followed by some brief sketches toward thinking cinesexuality as a form of ‘becoming-woman’. The cinesexual emphasises cinematic pleasure as asignified, pleasure beyond signification that then challenges how genders, and indeed individuals as their own collective of disparate modalities, desire cinema

Visual pleasure and gonzo pornography: Mason’s challenge to convention in ‘the hardest of hardcore’

This article focuses on the work of enigmatic female gonzo director Mason, and examines her filmic negotiations of genre convention within the American pornographic industry. Close analyses of her films reveal a rich, textured set of filmic strategies which complicate conceptions of what mainstream gonzo pornography looks like and how it functions. The article presents an overview of her career to date, examines the articulation of her relationship with her female performers, and discusses her authorial tropes. It asks how her films differ from those we might have come to expect from male directors, and questions how we might account for her female gaze (as both producer and consumer) upon extremely hardcore scenes. In particular, the article demonstrates that as Mason navigates, negotiates, and negates a variety of gonzo conventions, her work is best understood as a series of responses to the norms of her chosen genre

Nostalgia and style in retro America: moods, modes and media recycling

This paper considers nostalgia as a cultural mode in contemporary America

Male gays in the female gaze: women who watch m/m pornography

This paper draws on a piece of wide-scale mixed-methods research that examines the motivations behind women who watch gay male pornography. To date there has been very little interdisciplinary research investigating this phenomenon, despite a recent survey by PornHub (one of the largest online porn sites in the world) showing that gay male porn is the second most popular choice for women porn users out of 25+ possible genre choices. While both academic literature and popular culture have looked at the interest that (heterosexual) men have in lesbian pornography, considerably less attention has been paid to the consumption of gay male pornography by women. Research looking at women's consumption of pornography from within the Social Sciences is very focused around heterosexual (and, to a lesser extent, lesbian) pornography. Research looking more generally at gay pornography/erotica (and the subversion of the ‘male gaze’/concept of ‘male as erotic object’) often makes mention of female interest in this area, but only briefly, and often relies on anecdotal or observational evidence. Research looking at women's involvement in slashfic (primarily from within media studies), while very thorough and rich, tends to view slash writing as a somewhat isolated phenomenon (indeed, in her influential article on women's involvement in slash, Bacon-Smith talks about how ‘only a small number’ of female slash writers and readers have any interest in gay literature or pornography more generally, and this phenomenon is not often discussed in more recent analyses of slash); so while there has been a great deal of very interesting research done in this field, little attempt has been made to couch it more generally within women's consumption and use of pornography and erotica or to explore what women enjoy about watching gay male pornography. Through a series of focus groups, interviews, and an online questionnaire (n = 275), this exploratory piece of work looks at what women enjoy about gay male pornography, and how it sits within their consumption of erotica/pornography more generally. The article investigates what this has to say about the existence and nature of a ‘female gaze’

Empathy’s echo: post-apartheid fellow feeling

The concept of empathy has been set to work, across a range of fields, to mark a break with the relational patterns of apartheid. Similarly, empathy has been identified, historically, as that which, within apartheid and colonial rule more generally, exceeded or escaped relations of domination. This paper approaches the discourse of empathy from a different angle, taking empathy as a concept embedded in colonial thinking. Given that so many claims to empathy have had recourse to psychoanalysis, the paper focuses on empathy in Freud’s work, specifically Dora’s case and Freud’s analysis of Michelangelo’s Moses, which are read alongside the images and installations of contemporary South African artist, Nandipha Mntambo, in particular her collection of images and installations in The Encounter. Three scenes are conjured wherein empathy confronts its impossibility, but rather than foreclose on empathy as a postapartheid condition, it is through the disclosure of the aporias of empathy that it might be brought into the realm of the ethical through a practice of reinscription and through the figure of Echo

Artificial cell research as a field that connects chemical, biological and philosophical questions

This review article discusses the interdisciplinary nature and implications of artificial cell research. It starts from two historical theories: Gánti's chemoton model and the autopoiesis theory by Maturana and Varela. They both explain the transition from chemical molecules to biological cells. These models exemplify two different ways in which disciplines of chemistry, biology and philosophy can profit from each other. In the chemoton model, conclusions from one disciplinary approach are relevant for the other disciplines. In contrast, the autopoiesis model itself (rather than its conclusions) is transferred from one discipline to the other. The article closes by underpinning the relevance of artificial cell research for philosophy with reference to the on-going philosophical debates on emergence, biological functions and biocentrism