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MDSA01H3 (310)
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Chapter 12

MDSA01 chapter 12

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University of Toronto Scarborough
Media Studies
Ted Petit

CHAPTER 12 EROTIC ANALYSIS Media consumers increasingly becoming media producers YouTube Instagram fanfictions etc THEORIES OF PLEASURE AN OVERVIEWMedia scholars used to avoid topic of pleasure but when they did rarely address it they forcefully condemned itMark HorkheimerTheodor Adorno 1972pleasure is helplessness flying away from realityLaura Mulveyset out to destroy pleasure afforded by Hollywood cinemaPleasure emerged as a subject of sustained inquiry in 1980s1975 Roland Barthesmade distinction between two types of pleasure plaisir jouissanceBoth types arise out of audience but function differently 1 Plaisir describes a comfortable and comforting pleasure that emerges from a passive interaction with a textBecause plaisir is generated when audiences willingly submit to the structured invitations of the text such as its narrative form its stereotypical image or its activation of the male gaze it works to preserve the ideological status quo making it an essentially conservative and hegemonic pleasureTypically associated with pleasure of consumption 2 Jouissance ecstatic and disruptive pleasure that emerges from an active engagement with a textAudiences rework and remake the text to serve their own needs and desiresTypically associated with pleasure of productionPlaisirwatching movie passively Jouissanceplaying active video gameMedia erotics reflects a concern with sensuous transgressive and productive ways audiences interact with textsEroticism is transgressive of established order and productive of something newTransgression action or artistic practice that breaks with the prevailing cultural codes and conventions of a societyProductive generative of alternative pleasures meanings and identities Creative inventiveTRANSGRESSIVE TEXTSCertain kinds of texts more transgressive than others because of the way they engage audiencesTwo kinds of texts with strong potential for facilitating transgression writerly texts and carnivalesque texts1 THE WRITERLY TEXTBarthes made crucial distinction between readerly and writerly texts
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