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Less and be safe: The Sydney Chock Herald, February5. Her load is one of advice, even pleasure, as she thinks seductively and flirtatiously at the mexican.


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On myspace Bondage

We welcome reports on rule-breaking posts and comments. However, reports without a specified reason will be ignored. Spoilers Spoilers are not enforced, however you can use them as you wish. In a comment, use the following: Thus, following Butler, the authors suggest Bondage on myspace it is more than just the gender of the body that affects readings of such acts as Bondage on myspace subversive gender performances I therefore pursue further the question of how gender itself and the premise of agentic female self-production may affect readings of hetero-sexy performances on MySpace. Methodology The MySpace profiles examined in this study were selected from a viewing of over public profiles between September and February The search criteria myspac limited to public profiles located in Australia and maintained by women aged between myspacd and Studies suggest that Bondwge aged are within Bondgae demographic that use MySpace the most Thelwall, ; Lenhart, As implied above, however, in a textual study of online material such as this it is impossible to know with certainty that profiles owners are who they claim or appear to be.

The 45 profiles examined were included in the study based on the richness of expressive data they contained, and also, because of the way femininity was performed on the chosen profiles within current conventional models of hetero-normative gender display in Western popular culture. All profile owners were contacted via their profiles and informed about the purpose of the study, asking for their implicit consent. Profile owners were asked to voice any objections to discussion in a de-identified manner for this research, and no objections were received.

These dreamgirl icons are generic depictions of a hetero-sexy feminine form or feminised body parts, unreal and unidentifiable. Such icons are used in the same way as stickers might be used on a paper scrapbook or letter. That is, they are posted in between different sections of text to punctuate and decorate. Such images can be endlessly circulated around MySpace via code sites and peers, providing sources of page decoration and re-decoration. Images 1 and 2 exemplify the kind of digitally animated image of the female body often seen on the profiles examined. These icons evoke the aesthetics and conventions of mainstream heterosexual pornography through the sinuous body poses and the legs-in-air exposure of the genital region, the slim-but-curvaceous body types, and the scant apparel displayed.

They also depict a performance of feminine sexuality that has become conventional in visual culture. These are decorative, disinterested vixens, not dissimilar to the female-body silhouettes sometimes painted on the side of road trucks.

The Bloomington Potty Herald, Dug5. The Offense Review 33 1:.

Images 3, 4 and 5 are from mysace profile which is decorated almost exclusively with small, close-up, digitised mouths such as these, with lips made-up in a variety of different ways and signifying a variety of expressions. These digitised, detached mouths may be said to exemplify visual fetishisation. This singular part of the body myspafe been separated from all else, and elevated above all else making it the centre for desire and fantasy. Through visual repetition, these kinds of mouths become commodified and objectified. On this profile, the mouths myspaxe presented as would be products in a display case or shop window. They come in a range of colours and shapes.

But at the same time as these lips and mouths suggest artifice, masquerade, and variety, they construct a generalised, idealised femininity. Unlike many of the images found which reference the presence of the camera, the images of fornication are more illusory and mimetic in the same way as narrative cinema conventionally is. In other words, rather than constructed specifically as poses, these images are meant to look as if the couples are actually engaged in, and enjoying the sexual acts depicted. But as profile decoration, it is not necessarily apparent that such imagery is meant primarily for male consumption.

In the former interpretation, the profile owners are perhaps then seen as gazed upon objects of desire, yet with the complicating factor that they have put themselves in this position and thus, may be presumed to take some pleasure and power from it Dobson, ; Evans, Riley and Shankar, In the later interpretation, more tributaries of meaning are opened up. However, display of such imagery may equally be said to signal the desire and interest in sex of the profile owners themselves. There is nothing particularly subversive about all of these images themselves or the way in which they construct femininity and female bodies.

However, in the context of self-presentation by young women, dreamgirl icons and soft-pornographic imagery, at the very least, open up a series of questions that a feminist analysis should consider.

How can feminists acknowledge Bondage on myspace women as cultural producers and creators of media representation in their own right without ignoring the cultural and historical conditions that limit their representations? On one profile in particular Paris Hilton imagery appears to constitute the main visual theme. Similarities in style and feminine appearance long, blow-waved blonde hair, heavy make-up, and cocktail dresses between Paris and the profile owner and her friends as displayed in her profile pictures are also evident. Whether this level of engagement suggests admiration, fandom, parody, or a complex combination of these elements is open to interpretation. In the series of images displayed on this profile, Paris appears in several different costumes and settings, again foregrounding masquerade and artifice.

There is no one, real Paris, only Paris posing for the camera in a variety of different sets and costumes. For example, in Image 9, Paris wears black stiletto boots, and appears naked and tied up in black cord that, on closer inspection, appears to be electrical lead with a microphone on the end of it. Rather than implying distress or submission, in this image Paris still looks as if she has a degree of control over the situation, and over her representation. The microphone is, after all, pointing at her mouth and the brick wall and curtains behind her suggest that she is on a stage.

Her expression is one of calmness, even pleasure, as Bondage on myspace gazes seductively and flirtatiously at the camera. The markers of constructedness in these images may serve as reminders to viewers that Bondage on myspace, Paris is in control. She may represent feminine artifice, masquerade and hyper-femininity itself, yet unlike in the images of the mouths, for example, her performance of malleability and idealisation is at least tempered by the reference to her material, specific body. Hetero-sexy self-imagery Several of the profiles examined contain images of the profile owners themselves, most often alone, and posed for the camera in typically hetero-sexy poses similar to those described so far.

Other conventions of advertisements and pornography are also visible. The lips and mouths are often emphasised, posed pouted, slightly open, or puckered in a kiss shape. Some young women photograph their torso and midriff in swimwear or flesh-revealing clothes, and some pose in Playboy bunny clothes or wearing bunny ears. In one series of images, a profile owner poses kneeling on what appear to be her bedroom floor, her Playboy singlet rolled up to her chest, with her knees apart, pulling at, and then unzipping the fly of her short denim shorts — a common sequence of photo shots seen in soft pornography magazines.

In encountering this kind of self-representation by young women, we then need to remember that linking sexual self-presentation to a risk of sexual or violent crime a priori is perhaps a little too akin to blaming a rape victim for her assault because of the way she dresses. Future research may fruitfully seek to examine why some young women display hetero-sexy self-imagery and what their experience of posting this kind of material is. My purpose here is to unpack the meaning of such imagery as representation, as I go on to do next. I ask if feminist performance theory on explicit body performance by women offers us ways of understanding any possibilities for political power in such self-produced hetero-sexy representations.

Some challenging binaries and boundaries: According to Schneider, when viewers are aware that the object has a perspective of her own on her own desirability, and an ability to see herself being seen, possibilities for binary disruption open up Schneider,p. Schneider writes about performative scenarios created by artists such as Annie Sprinkle, Carolee Schneeman, and Karen Finley in which: Such reciprocity threatens in that it suggests a disavowal of the terror and anxiety that demarcates subject from object in Western cultural habits of knowing.

This is not a new question. New technologies do, however, force us to ask the question in a whole new context. As has been discussed, young women often present their identities through images and icons that can be described as hetero-sexy, and hold connotations of objectification and complicity with a masculinised gaze. However, they do so in a context of self-authorship, and such representations are viewed through a premise of self-production. The textual analysis provided in this article cannot answer such a question, which ventures into the domain of performer intention and audience reception.

In offering this possibility, my intention is not to celebrate but to complicate hetero-sexy self-production by young women and analyses of it. Ringrose has established the difficulties that schoolgirls face in negotiating appropriate performances of sexuality Ringrose, Such consequences include peer aggression, conflict, ostracising and labelling, especially if they fail to take into account their position as raced and classed subjects, as these differences alter significantly the rules and boundaries around sexualised presentations of self according to Ringrose Hetero-sexy display by young women is a complex area of investigation, and one in which, as Henderson suggests, we need to be cautiously slow in drawing conclusions.

At the same time, the rapid rate of change in popular culture and social network site culture also makes firm conclusions about the meaning of this representation difficult. In summary, I contend that hetero-sexy material from social network sites serves two important functions. First, the premise of self-production adds a layer of complexity that feminists need to acknowledge when seeking to understand and critique this material. Further, as much as a MySpace profile suggests individuality and specificity, it also suggests artifice, play and performance.

On the other hand, the MySpace imagery and Bobdage female self-production phenomenon online also compels us to question the limits of such theory, as we try to apply it to different kinds of female-produced representation, in different cultural and performative contexts. However, in the current cultural climate of raunch culture, we have to ask: Acknowledgments I would like to gratefully acknowledge Professor Denise Cuthbert, who has provided thorough editing, suggestions and comments on several earlier drafts of this work. Creating culture through collective identity performance: MySpace, youth, and DIY publics. International Journal of Communication 1 Youth, identity, and digital media.

The becoming of bodies: Feminist Media Studies, 8 2- Cook, Daniel Thomas, and Susan B. Betwixt and be tween: Journal of Consumer Culture 4 2: De Lauretis, Teresa Dobson, Amy Shields In Anita Harris Ed.


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