Bonnie Sherr Klein's Not a Love Story by Rebecca Sullivan (review)
Notice bibliographique
Résumé
BONNIE SHERR KLEIN'S NOT A LOVE STORY By Rebecca Sullivan Toronto: University of Toronto Press, 2014,144 pp.REVIEWED BY MANDY ELLIOTTIn her introduction to Bonnie Sherr Klein's a Love Rebecca Sullivan reminisces that when [she] saw Not a Love Story, in 1992, [she] hated almost everything about (6). Despite this admission, Sullivan reconsiders her initial dislike of the film, and advocates a second look, contending that Klein's film, which attempts to offer a feminist on pornography and sex work, and which many critics pan for being glaringly anti-porn, actually resists a one-sided perspective. Rather than position the in the context of the Porn Wars, within which it has been predominately situated, Sullivan suggests that it should be read outside the pro- or anti-porn binary. While Sullivan acknowledges the film's tendency toward moralizing, and the problems with its often-redemptive spirit, she argues that No ta Love Story gives such voice to [sex workers] that it overwhelms our own desire to reduce the arguments contained therein to a simple case of pro- versus anti-pornography (8). Sullivan boldly situates Not a Love Story at the centre of the Porn Wars and the Canadian Sex Crisis of the 1980s and 1990s, before attempting to extricate it from that centre to provide, if not an acquittal from the original accusations of the film's shortcomings, at least a plausible defense.Released in Canada in 1981, Kleins was made for the now-defunct Studio D, the National Film Boards Women's Unit, and features Klein and activist, performance artist, and stripper, Lindalee Tracey, as well as several sex workers, and some anti-porn feminist activists. It journeys with Klein and Tracey through seamy sex clubs and porn shoots in Montreal, New York, and San Francisco, and is regarded as the first Canadian to explore pornography's role in society from a feminist perspective (i).After providing a brief history of the film's historical context, and an overview of the criticisms that were aimed at it, Sullivan interviews the surviving filmmakers and familiarizes herself with numerous interviews with Tracey, who died in 2006. These interviews are critical to her examination of the as a major catalyst for discussion of sex work and pornography in Canada, and they work to support her central claim that the complicates the pro- versus antipornography binary by provocatively probing issues of social inequality and the role of feminist agency within Canadian sex work.The book's chapter discusses Klein's association with the National Film Board, and also provides a brief biography of Klein, outlining her use of as social critique and feminist voice. While brief, this chapter provides an informative window on Klein's relationship with Studio D, and the social climate of the National Film Board in the late 1970s and early 1980s. Sullivan presents Klein's motivations for navigating the worlds of feminism and pornography, and rather than critique these motivations, she lets Klein's experiences with the NFB and her assertion that film is a medium of questions (22) speak for themselves.Sullivan delves into the making of Not a Love Story in her second chapter including several reminiscences of the crew's thought process during filming before moving into a discussion of Tracey's attachment to the project and her ensuing relationship with Klein. In doing so, Sullivan examines Tracey's part in the filmmaking, her motivations, and her role as a bridge between Klein and the sex workers. Sullivan also details Klein's movement away from a in which she celebrates sexual expression while criticizing pornography toward exposing what she saw as the unknown seamy side of the porn industry. …
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Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,001 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,001 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,001 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,001 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».