There are a number of
websites available on the Internet (like, Mr. Skin) that dole out movie
clippings and images consisting exclusively of celebrity nudity. Not
technically pornographic in content, these sites cater to a certain section of
the audience, the type that Laura Mulvey would probably describe as the
Possessive Spectator, and have become almost a part of celebrity culture
worldwide. It has become a steady practice to extract nude sequences from films
to feed the voyeuristic consumption habits of the masses. The problem being,
though not pornographic in content, such extratextual and decontextualized dissemination
of movie clippings unhinges them from the film text, making them readily
consumable goods – pornographic in intent. And they are all hyperlinked in such
a fashion that it automanufactures more voyeurism.
Although such
practices might make purists squirm in disdain, it still may appear gentlemanly
compared to the more recent phenomenon of ‘controversial’ movie clips going
viral over the Internet and the social platforms. It did not take publicists and/or
moviemakers much time to find out how the social media can be used as a
publicity platform free of cost, and certain movie clips consisting nudity
started to make regular appearances before the release of the films. A very
good example would be the nude clip that surfaced before the release of the
film Chatrak (2011), depicting a
cunnilingus performed on Paoli Dam by Anubrata. In the past weeks, a similar
controversy has appeared concerning Radhika Apte’s frontal nude scene in an
Anurag Kashyap short film made for an international audience (aside: note how
international doesn’t mean national anymore). While such scandals generate much
debate over who might be behind these acts, it is an undeniable fact that this
curious nexus of social platforms and news media in making viral videos does
wonders in generating awareness about the film in question.
Lena Heady’s naked
walk of shame in the fifth season of Game
of Thrones had already created much murmur in media circles even before the
season had started to air. Now that the season is over, much is being said
about the season finale of the HBO TV series that aired June 14, 2015. The
series has always been under critical and popular debate owing to its
convoluted storyline, an almost
obsessive-compulsive deployment of plot twists and shocks, rampant nudity, and overtly
realistic brutality (as opposed to the CGI gore of, say, Spartacus). The brief
June 15 article in the New York Post titled ‘Game of Thrones’ used a body double for that big Cercei scene was widely shared
and circulated in the social media circle, more specifically, Facebook, and
hence the following few observations:
Whenever the media
points out things like these, it raises the obvious question of how male actors
are seldom under scrutiny for using stunt doubles in action scenes, whereas the
media and audience regularly obsess over the usage of body doubles in nude
scenes of the female actors. Body doubles for nude scenes should be no news to
anyone, it being a part of a gag in one episode of F.R.I.E.N.D.S. where Joey gets the job of playing Al Pacino’s butt,
or in Notting Hill (1999), where
Julia Roberts explains the nudity clauses in acting contracts to Hugh Grant,
and various other examples within and without film and media. But even then,
whenever someone points out the use of a body double in some nude sequence,
they sound almost hurt and betrayed; as if the entirety of the filmmaking
technique is not based on some deception or the other. This strangeness of
attitude then points to a problem a bit more complex than a simple male/female
commodification binary; it points out how even objectified bodies are subject
to class stratifications. The knowledge that the nudity on display is not of
the person we think it to be, but someone else’s—a subordinate in the
craft-chain, a non-star—immediately acts as a devaluer of the fetish quotient.
In this particular sequence
we see a twofold failure of fetishism in action – internal and external to the
narrative. On one hand the audience’s fetishism over actor Lena Heady’s naked
body is decimated by the news of the body double, on the other the actual
sequence of the ‘walk of shame’ in the episode is brutalised and overexposed by
design to an extent where it unsettles all audience to the point that any scope
of sexualisation of the body is annihilated. The reaction of the audience and
Cercei at the end of the walk is likely to be the same – shocked, shaken,
wide-legged, and drained.
Fetishism is, in its
essence, an inculcated class issue. We fetishize objects we are taught to
fetishize. Thus, we do not fetishize the whore, but we fetishize the housewife,
the stepmother, the actor, the star, or in this case, the queen. The High
Sparrow knows this fact, and so he offers the ultimate fetish-object, the
queen, her highness, as meat to hungry dogs. In fact, the citizens, all
gathered around to witness the spectacle, first gasp, and then jeer and howl at
Cercei. The ritual of humiliation becomes an act of passive-rape. During her
parade, a woman flashes her privates and shouts, “I’ve had half as many cocks
as the queen.” Soon after, one of the thronging citizens comes forward,
disrobes himself and shouts, “I’m a Lannister, suck me off.” All selfhoods
become relational to the image of class and power.
Running for almost ten
minutes, the sequence is as excruciatingly brutal as it is lengthy. But this
stretched out, never-ending sequence is designed to have an unsettling effect
even on the most avid of fetishisers. Cercei is paraded down the street—with a
few guards guarding her, and a priestess ringing a bell and chanting “shame”
behind her—almost like a rare zoo animal put out on display before it is again
put back in the cage, in this case, the Red Keep. The duality of simultaneous
accessibility and inaccessibility of the naked body of Cercei is what ignites
the unrest in people, and their almost taunted, jilted sexual desires find a
vent in the brutal abuse hurled towards her.
Like children pelt zoo
monkeys with stones, the commoners are permitted to verbally abuse her, flash
her, throw rotten food, and even spit on her, but they are not allowed to touch
her. The question is, even when Cercei Lannister is shorn, stripped, and
paraded down the city streets, is she still even close to being a commoner? The
answer is, of course not. Class is intrinsically connected with history; the
inevitability of history is the inevitability of class. Cercei can be
humiliated as chosen by the people who at the point of time have power over
her, but even then, she cannot be declassed. Even in her parade of shame,
Cercei still has her cocoon of aristocracy wrapped around her; class is a
clothing that cannot be stripped.
--- Souraj Dutta
--- Souraj Dutta
Bhalo lekho toh!
ReplyDeleteTrue. And, in this sense, if one looks beyond GoT's rather gratuitous violence, one can notice instances of real politics.
ReplyDelete