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These seemingly accidental exhibitions happened when the women, exiting cars or climbing stairs in short skirts, gave the paparazzi a brief but clear shot of their naked privates. All were young and many but not all of them were members of that odd celebrity club that is comprised of reality TV stars, socialites, and tabloid regulars. Although the phenomenon carried the question of intention—did these celebrities mean to go out without underwear?
It was too mainstream, it was played out, it was—how could it not be? In October of that year, Spears was stripped of custody Britney spears vagina shot her young sons. The unseen organ, the vagina, is according to Freud the site of appropriately mature—i.
As the counterpart to the male organ, it is phallic, albeit negatively so. In so doing, it reveals the misogyny of the postfeminist celebrity landscape, unearthing an unconscious connection between female celebrity and male pleasure, emptiness, Britney spears vagina shot trashiness. In this way, it polices the border between good girls and bad girls—that archaic boundary that we thought discarded along with saving ourselves for marriage and back-alley abortions.
That this kind of approbation is still a meaningful option in a so-called postfeminist world indicates that, perhaps, we are living in anything but. I then move into an illustration of the popular and academic elision of feminine sexuality and modern celebrity. Here, I make use of this vocabulary to do what postfeminism—particularly in its popular uptake—has been unable to do: address issues of exploitation of the female body for a more detailed version of this critique, see Tasker and Negra.
In the end, we are talking about pornographic images of celebrity female genitalia, and the ways in which such images are produced and distributed in the service of a particular kind of celebrity. In other words, postfeminism cannot for the opposite pole of this embracing of sexuality—the trashy, trainwreck woman deemed a slut.
Second-wave feminist Luce Irigaray provides an of the logic behind this polarization, because her theory of feminine pleasure and subjectivity distinguishes meaningfully between self pleasure and pleasure for the consumption of others. Freud and later Lacan, with whom Irigaray broke with her Speculum of the Other Woman—stipulate anatomical sexual difference as the foundation of subjectivity. Lacan further analyzes the development of subjectivity as an entrance into the symbolic, that is, into language cf. Thus sexual difference here defined as having or not having a penis is the root of human subjectivity, which in turn plays itself out in the discursive realm.
That is, language itself is the tool by which phallocentrism asserts itself. In contrast, the labia are the origin of a subjectivity whose principle logic is sensual: because the double lips are continually in contact, they provide the woman with the experience of touching herself without any intervention. Phallocentric discourse suppresses this experience by denying it entrance: touch is not intelligible to a logic based solely on seeing or not seeing. It is this experience of knowledge and understanding based on sight that forms his assumptions about masculine power, the fear of castration, and the taboo on incest.
For Irigaray:. A defect in this systematics of representation and desire. It is already evident in Greek statuary that this horror of nothing to see has to be excluded, rejected, from such a scene of representation Here she is referring to statuary in which the vulva are represented as a smooth plane, undivided by what in anatomical reality are the two lips of the vulva.
There exists no positive representation of what is there to see. A vagina, on the other hand, is simply not visible from the outside. It does not disrupt a visual logic, but rather supports it negatively by occupying the space of the unseen or invisible. What cannot be seen is understood as nonexistent or at best secondary: touch, because it cannot be seen, cannot be represented, and is thus disavowed. In this context, the vagina is a phallocentric organ: defined as sheath or receptacle, itself properly singular and decorously out of sight, it compensates for what Freud called the uncanny nature of the outer female genitalia.
Site of what for Freud was the properly adult viz. Simply put, the vagina is an internal organ that cannot really be seen, except perhaps with a Britney spears vagina shot and mirror. Even with speculum inserted, what is seen is not so much the vagina as where the vagina le—the cervix. As passage, communicating corridor, or conduit, the vagina is defined by negative space—by what it opens on to, or allows in. Nevertheless, this definition fits negatively into a visual logic: it is what is unseen, rather than what defies vision—that is, the labia whose primary sense is touch.
Yet what was represented in the photographs was precisely something that upsets and confounds visuality: an organ of touch, where appearance tells us very little about its function as an organ of pleasure. It also works to underline the vacuity, artificiality, and nihilism of modern mediated celebrity. The editors of this issue observe that female celebrity is most often considered trashy, empty, expendable.
This morbid and cruel example serves to illustrate the ways in which the separation of fame from talent or hard work is gendered feminine. In the first part of the following section, I explore the ways in which paparazzi culture and its market, the tabloids and online gossip sites participate in and perpetuate a gendered notion of meritless fame. I then go on to show that this misogyny is not merely a popular discourse, but that many scholarly treatments of modern celebrity mirror it as well.
In its most reductive formulation, this means that one may become famous by appearing in the tabloids, rather than appearing in the tabloids because one is famous. There are two ways in which this new marriage of paparazzi and celebrity is sexualized. Second, the language of the paparazzi as a production culture is itself highly sexualized. In this climate, therefore, the upskirt photograph represents a kind of limit case of the utterly sexual and the awfully banal.
It was an X17 photographer who captured the now iconic images of Britney Spears shaving her head, and later attacking a car with an umbrella.
There is no other plot besides this consumption activity—drama arises when the featured teen is denied an expensive gift, or something goes wrong with the caterer, hairdresser, or guest list. These series are the reality counterparts of fiction fantasies of wealth and consumption like The O.
A quick glance at the most popular gossip sites defamer. Of course, the shots that are the most valuable do portray some kind of scandal, which is why the photographs of Spears shaving her head, for example, are so iconic. But the economy of the new paparazzi is that a thousand shots of Spears drinking frappuccinos will eventually yield one head-shaving shot.
You see, says Us Weekly, stars are human, too! It appears as emblematic of a culture of visibility, where the most ordinary and off-screen moments are the most coveted. In the examples cited above, almost all are also women: online commentators snigger over cellulite and sweat stains, problems for which men are rarely called to task. During the flashing fad, public commentary even turned to such specialized topics as pubic hair grooming and the size and shape of the labia.
This is objectification at its most intimately cruel, yet, much in the spirit of the new openness about pubic hair waxing ushered in a few years earlier by Sex and the City the tone of the comments often suggested that this was hip, modern, liberated behavior. Nevertheless, the effect is to label the bad girls and lay out for everyone else the standards of proper female behavior. The image of a cult member setting fire to her birth certificate works to summon an era in which youth culture was widely perceived to be politically activist and therefore meaningful, if misguided.
The irony here is that all Spears did was shave her head—that is, remove one of the ifiers of her gender and sexuality, in front of the camera. There is no sense of any agency or Britney spears vagina shot to the act or even to the larger trends for which this behavior and its unregulated nature is meant to stand. It is absolutely true that Mischa Barton has not had a ificant professional acting job since The OCyet I see her week after week and day after day in the s of the gossip tabloids and online.
Some stars hate the paparazzi. Others use them to reinvent themselves or increase their fame. This is the context in which the upskirt phenomenon arose. It is also the subject of academic discourse, but very little of this discourse is devoted to exploring the intersection of gender and celebrity. As such, it indicates the ways in which discussion Britney spears vagina shot fame and media is gendered from the outset. The main conflict, as Sconce sees it, is class-based: how long will the masses tolerate the entitlement and leisure of the few?
It is in this context that Hilton becomes the girl we love to hate: for Sconce, her function is rather that of a safety valve that siphons off mass anger at the wealthy and famous. This reflection of leisure is not sexualized for these men, whose bodies are not the literal emblems of their fame. The mere fact of mass exposure is enough to sustain enormous and ever-growing niches of the culture industry.
It is impossible to ignore when one is talking sex scandal—and sex scandal has ever accompanied celebrity see Cook and McLean. With what Owens et. On the other hand, it is often deployed to label someone as trashy or slutty.
Those who can say it are hip; those who show it are trash. Here the joke is established by a metonymy with the genitals, and the dig consists in the ambiguity between the anatomical term and its pornographic connotations. Thus, she was able to pretend that she was merely stating an obvious, even clinical fact, while essentially calling these women media whores. This March 28, post from Dlisted. I think this is an inspiration for a lot of girls out there. Hold up! Who answered this question? Paris or her vagina? Come on Paris! Give your pussy a little credit Michael K. The Britney spears vagina shot establishes her as a leech with nothing of her own to contribute.
This dichotomy emphasizes the love of postfeminist and celebrity gossip culture alike for female rivalry and polarization. It can also be read as an ironic redeployment of pre-feminist relations see Shugart et. Oprah and the members of The Viewpanel were discussing the word as a of liberation: that is, as a word that is often taboo or uncomfortable for people, particularly men, to say. Barbara Walters, a woman of the Betty Friedan generation, complained that the viewing public seemed shocked by her use of the term and objected that she certainly was not the prude they thought she was.
TheMonologues were originally a one-woman show where, much in the spirit of the book Cuntthe word operates as a reclamation on feminist grounds of a body part either cloaked in euphemism or stained with shame. Why, after her participation, did the phenomenon die down? What is it about the scar photograph, in particular, that disrupts the fantasy and ends the fad? At the same time, Britney spears vagina shot preserves a moment only posthumously, thus also capturing the passage of time and the fact of absence. The photograph effect indexes reality, points towards the absence of something that is nevertheless indisputably real.
The scar is like a photograph itself, in many ways. The scar thus lays bare a more or less unconscious misrecognition, and forces the recognition of the labia as somethingother than the birth canal or phallic sheath. It exposes the labia asnothing to see. The obvious question—who leaves the house without underwear in a miniskirt? Thus these images, unfettered by social norms restricting the consumption of pornography, made it impossible to turn away from the horror of nothing to see—they constituted, rather, the horror of something to see.
Yet the nature of the prosthesis is ambiguous: as both supplement and substitute, extension and replacement, it constitutes a relation rather than a repression see Dworkin.
In this sense, the prosthesis may always be said to be supplementary, in excess, while at the same time extending or supporting a text. David Wills Wills points to this supplementarity in its embodied context: the prosthesis both replaces an absent limb and exceeds it. In other words, a prosthesis always points out an absence in the very act of replacement. Moreover, the prosthetic limb has a life of its own: more durable than flesh, impervious to pain and articulated, literally and figuratively, to the technological and communicative structures that exceed the purely physical.
And in what ways does this relation arise from the intensely spectacular nature of the images—that is, from the excess of vision produced by their ubiquity and explicitness? Where it is not possible to purely objectify—that is, where a non-visual economy such as the labia threatens to disrupt the visual—words step in as prostheses to re-objectify this body, reinsert it into a visual and moral Britney spears vagina shot that is essentially patriarchal. In the world of female celebrity, a cultural catchphrase has served to mark important behavioral boundaries in a culture seemingly bereft of such standards.
That, for example, porn star Jenna Jameson sells a plastic mould of her own vagina as a sex toy only underlines the prosthetic nature of the word in this context: as detachable hole, the vagina indexes male pleasure alone. Jenna Jameson may be a celebrity, but her power as such stems not from her talent and not even from her allure, but from the availability of her anatomy, separate from her subjectivity, to masculine desire.
Let us not make the price of our own empowerment the condemnation of others: let us not measure the strides that women have made in terms of who among us we can comfortably condemn. Genders Main menu Home. Search Enter the terms you wish to search for. Other ways to search: Events Calendar Campus Map.
Published: Sept. Figure 1. : media. Tags: Margaret SchwartzBritney spears vagina shot
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