,
2: When Nature Calls (1995) and Powder (1995) being only several examples from different genres depicting nudity without ostensible or explicit sexual overtones. An important scene in Apt Pupil has Todd Bowden (Brad Renfro) showering Nude among fellow secondary school pupils. Having been deluged with infor- mation from Nazi-in hiding Kurt Dussander (Ian McKellan) on his experiences in sending Jews to the gas chambers -- under the guise of sending them to the showers -- http://bighead.poli.usp.br/cadernoteca/index.php?title=lab-staff-have-contacted-authorities-over-images-they-have-found-In-the-UK-one-d has a delusionary minute at which other showering pupils are viewed as starved and expiring incarcerated Jews. This is an apparent and Purposeful picture in the lm, one which is ostensibly designed to suggest the traumatic effect of personal anecdotal and autobiographical records or stories of abuse, homicide and genocide. However, several of the showering extras headed a lawsuit against director Bryan Singer and other crew members, claiming the bare shoot subjected them to 'sexual harassment, invasion of privacy, [and] false Incarceration [on the set]'. The critical component in the legal claim was that Singer 'appeared . . . to be a full-edged queer' (Cheevers and Ebner, 1998). On the other hand, the majority of the plaintiffs' claims -- both legal and uttered during media interviews -- expressed the severe distress they felt being nude start. As one plaintiff get it, 'there was smoke guys who had to stand on each side, and all they did was sit there and look at you while they're pouring their smoke. It's basically like all eyes are on you' (Cheevers and Ebner, 1998). The suit caused a media scandal, with several newspaper and television interviews being granted the young plaintiffs and their attorney, although the hysteria was came somewhat after several other extras disavowed http://59.125.224.93/MediaWiki/index.php?title=A-Look-Back-At-The-Jackie-Kennedy-Bare-Beach-Photo-Scandal-k . Cheevers and Ebner's article says that: 'Several individuals present on the set denied that the crew eyed the boys in a sexual way' (Cheevers and Ebner, 1998), that's, they maintained that the gaze wasn't a sexual gaze. What is fascinating about this case isn't only the ways the accusation that the manager and other crew members identied as homosexual is seen to collapse gay identity into homosexual sexual conduct, but the wholesale collapse of nudity into sexuality. One of the principal plaintiffs made the following statement in a court record: I didn't want to be standing there for the world to see. . . . That to me is for me and my future wife to see, and for us only. That's not for the enjoyment of the homosexuals on the set.... I don't enjoy being oogled [sic]. (Cheevers and Ebner, 1998) For this additional, nakedness as gazed-upon belongs merely to Grosz's framework amount two, the intimate or sexual context, thereby disintegrating the contexts that Shield the look of nakedness for the intent of showering, whether 'for real' or on the set of a lm. Where nakedness under the gaze of others is now more commonly causing anxiety, stress, shame or even horror, it strikes at the very solidity of the self as subject. If all subjective performativity is, as Butler (1990) shows, a citation of the signier, then the instability of the signier of nakedness sabotages the psychic self as it really is constituted in and by culture. In other words, if nakedness can no More be determined and delineated clearly in particular sites and under particu- lar gazes, then it risks destabilizing the performativity of the issue by intro- ducing an stress-causing encounter with shaky signiers. The instability of the frameworks undermines the subject's awareness of coherence and intelligibility, and the Suffering in nakedness can be seen to be a distress with the issue of what nakedness is for. Bathed in Sex -- Reading as the Pornographic In the various competing contextual spaces in which nakedness is performed legitimately, one includes a set of ritual and institutional power structures of Changing kinds, in which the empowered (and normally clothed) theme is Placed to perform a nonsexual gazing at an objectied naked body. This frame is most easily experienced in current society by kids being bathed, dressed or supervised by parents, guardians or older siblings, or by patients being examined, prepared or operated on by doctors, surgeons and other medics. In the case of the child/parent relationship, we once again see a particu- lar cultural anxiety that such a relationship is not always necessarily non-sexual in the terms of sexual given by contemporary culture. In 1995, a Visual Arts student at a Western Australian university was detained and charged by police with 'indecently recording . . . a child under thirteen years by the taking of still photos' (Bowles et al., 1998: 5). 4 The photos were depictions of her own naked sons, taken as part of a job in a photomedia degree. Although the images used ancient poses -- a standard motif used by such