Brief (200 word) Description of FMP
How is imagery defined as either pornographic or erotic?
I am going to further explore the deciding factors that aid the viewer to categorise the imagery as pornographic or erotic.
I shall be producing a body of lens and (possibly) film based work to challenge the viewer’s perspective as their mind works on categorizing the imagery they are viewing.
The body of work will include explicit material, along with sexually suggestive viewpoints, carefully crafted out of focus to further warp the possible intentions of the imagery being viewed.
The final piece will incorporate the interaction of the viewer to further the impact of the material there looking at. I hope that this interaction will enable the spectators to deeply engage the thought process that leads them through to there final decision, as to weather the work is pornographic or erotic.
In a way my project is more of a social study surrounding the boundaries between pornography and erotic photography through the use of image-based media.
Over all I am expecting the work to make the spectators question the presence of the final frames not only within the exhibition space but also in terms of the wider community.
- Ø I also intend to incorporate the use of the four gazes, (need to speak to Spencer Murphy) and Laura Mulveys ‘Males Gaze’. These have heavily affected my understanding of both pornography and erotic photography (artistic).
The Five Bullet Points
- Ø Sexually suggestive imagery that is actually quite innocent. > miss understood by viewers.
- Ø Overtly sexualized imagery that leads the viewer’s gaze through the frame, settling on the one aspect of the image that has sexualized it.
- Ø Sexually explicit photograph, that reveals all aspects of it’s nature
- Ø An out of focus frame that still holds qualities of sexual nature, the viewer can place them selves into the same situation – correspond with the image.
- Ø ?
ALL IMAGES WOULD BE CAPTURED FROM THE PERSPECTIVE OF THE ‘MALE GAZE’ THEORY
THE FOUR WAYS OF LOOKING (SPENCER MURPHEY).