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PORN ON THE MOVE panel- abstracts due August 19th
full name / name of organization:
Society for Cinema & Media Studies. March 2015- Montreal
Pornography is the most transient of all media texts. Attempts to situate pornography within the realm of the private—because of increased internet accessibility, coupled with the closing of many metropolitan porn theaters—fail to recognize the porn text's ability to easily shift between private and public viewing spaces. For instance, not only is porn accessible through any internet enabled wireless device, but porn consumers are now producing vast amounts of their own amateur porn content and distribute it through these same devices. The notion of a passive porn consumer is a construct of the past because we can now see many examples of how engagements with porn texts through social networking are an active/integral part of one's online and personal identity formation (like when users exchange nude imagery of themselves through hook-up apps like Grindr or engage with professional porn performers on Twitter). This is why it is essential that we begin to comprehensively track porn’s movement through our ever expanding mediascape; which now includes social media, smartphone apps, the popularization of amateur porn, porn festivals, as well as, new viewing technologies. Because of these changes, porn is no longer a “stationary” stand alone text, and as a result, is increasingly becoming hard to pin down as a singular object of study. Rather, porn must be thought of as moving through a wide ranging cultural assemblage.
More specifically, we must work on analyzing this movement through what Susanna Paasonen calls, a “pornographic assemblage.” She describes it as a “complex nexus of flesh, generic conventions, technologies, regulatory acts and values...in and through which particular images and texts become experienced and defined as pornographic” (3). This idea of an assemblage emphasizes context over content, and underscores the porn text's ability to traverse a
* Blurring the line between professional and amateur
* Porn watched and consumed in private versus public
* Technological shifts which facilitate and accelerate movement
* Theoretical shifts within the discipline
* Exchanging and creating porn within social circles and social
* The rise and popularity of porn festivals, and their ability to
* Reappropriation of porn texts
* Communities, affect and porn.
* Historical and aesthetic shifts
* Porn and sexual politics
Paper proposals of maximum 300 words—along with institutional/departmental affiliations and current email, and the short bio statement (50-100 words)—should be sent to Brandon Arroyo: firstname.lastname@example.org, by August 19th. You will be notified about the status of your proposal by August 21st. Thanks in advance for your interest.