Cover

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Half Title, Title Page, Copyright, Quotation

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Contents

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pp. vii-viii

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Preface. Venus: Paris Is Burning

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pp. xi-xxii

At this point, Jennie Livingston’s drag ball documentary Paris Is Burning (1990) has been thoroughly appropriated and reappropriated by critics and cultural producers, mirroring a dynamic of appropriation and expropriation central to the film and the debates it has generated.1 ...

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Introduction: How Much Does It Cost for Cinema to Tell the Truth of Sex?

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pp. 1-28

Sex and discourse have long been intertwined. The popularity of psychotherapy has proven that people will pay to talk about sex, adding money to what is an essentially confessional mode. In truth, many sex workers explain their roles as unlicensed therapists with clients who may be looking for someone compassionate to talk to ...

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1. Street Talk and Love: Pasolini’s Cinéma Vérité in Comizi d’amore

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pp. 29-56

How, exactly, do documentary interviews function as a form of confessional discourse? What strange kind of confession could make the camera act as a mirror or a window open to the outside? In what ways can filmmakers set these cinéma vérité devices on edge? ...

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2. Confession Porn: Wiktor Grodecki’s Body without Soul and Not Angels but Angels

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pp. 57-90

A striking contrast to Pier Paolo Pasolini’s self-questioning use of the cinéma vérité format in Love Meetings can be observed in Polish director Wiktor Grodecki’s trilogy of films about teenage male “prostitutes”1 hustling and working in pornography in Prague: two documentaries, Not Angels but Angels (1994) ...

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3. Save Us from Saviors: Reflexive Feminist Documentary and Shohini Ghosh’s Tales of the Night Fairies

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pp. 91-126

The rescue narrative produced about “sex trafficking” in India’s red-light districts is all too familiar. It now constitutes its own subgenre of anti-prostitution documentary and photojournalism, as Svati Shah has identified in “Brothels and Big Screen Rescues.”1 I begin this chapter by characterizing the typical Orientalist rescue narrative—exemplified here by a series of articles and videos ...

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4. Gray Mornings of Tolerance: Cui Zi’en’s Night Scene and Queer China, “Comrade” China

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pp. 127-150

Cui Zi’en is an outspoken queer activist, director, film scholar, screenwriter, novelist, and researcher affiliated with the Beijing Film Academy (where he was removed from a teaching position once he came out publicly about his sexuality). His independent digital video (DV) film output situates him within the “Sixth Generation” or “Urban Generation” ...

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5. Truth under the Uniform: Youth and Sexuality in Hideaki Anno’s Love & Pop

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pp. 151-170

The previous chapter considered the blurred boundaries between socially engaged urban DV documentary and scripted action in Cui Zi’en’s quasi-documentary Night Scene. This chapter explores the furthest-limit case of fictionalization in my study of ethnographic documentaries about commercial sex: anime director Hideaki Anno’s live-action feature debut,

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Conclusion. Plot Twists: Live Nude Girls, Unite!

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pp. 171-182

The previous chapters have examined and critiqued ethnographic documentaries (and hybrid documentaries) about sex work made by non-sex-worker filmmakers (Jennie Livingston, Pier Paolo Pasolini, Wiktor Grodecki, Shohini Ghosh, Cui Zi’en, and Hideaki Anno). This conclusion shifts the focus onto sex-worker-made media, including work by Carol Leigh, ...

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Acknowledgments

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pp. 183-186

Thanks are due to the following researchers and activists for providing information, provocation, feedback, and support: Laura Agustín, Norma Jean Almodovar, Noah Berlatsky, Thaddeus Blanchette, Melinda Chateauvert, Sealing Cheng, Margaret Corvid, Kate D’Adamo, Katie de Long, Melissa Ditmore, Domina Elle, ...

Notes

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pp. 187-248

Index

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pp. 249-268

About the Author

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