Sexing it up: Navigating sex, power and pleasure in popular cinema during MeToo

“我也是”运动为讨论银幕上的性问题创造了新的紧迫性。它在代表性问题上展现了新的社会和政治重要性（Boyle, 2019），这在电影研究中尚未得到充分解决。在对银幕上的性别与其社会政治背景之间的关系进行示范分析之后（例如Williams， 2008），该项目将解决一个新的电影和电视文本语库，将女性性行为置于2010年代MeToo和女权主义话语的新兴话语语境中。通过这个过程，该项目将提出一个问题：meooframe的话语是如何概念化女性的性代理和性快感的？在这一时期的视听文本中，这些术语是如何协商和产生问题的？这些文本以什么方式开辟了超越MeToo话语中允许的性权力和性快感概念的途径？超越现有的MeToo学术研究（Boyle, 2019; Wilz, 2020），该项目将质疑该运动的贡献和局限性，介入女权主义电影理论的更广泛辩论，特别是与性、权力、美学和价值话语有关的辩论。该项目将以酷儿和批判性种族理论家的见解为基础（例如Bradbury-Rance, 2018; Jackson, 2018），以开发更具包容性的框架来研究女性性行为，这些框架挑战了Mulvey的二元凝视经济（Mulvey, 1975），后者过度决定了该领域关于性交换的讨论。对种族的关注至关重要，因为“我也是”运动以白人女性的经历为范式。电视文本的纳入和女性作者的特权，这两者对于理解过去十年代表性的变化至关重要，将解决文献中关于放映性别的进一步遗漏

The MeToo movement has created a new urgency for the discussion of sex on screen. It shed a newsocial and political importance on the issue of representation (Boyle, 2019), which is yet to be sufficientlyaddressed within Film Studies. Following exemplary analysis of the relationship between sex on screenand its sociopolitical context (e.g Williams, 2008), this project will address a new corpus of film andtelevision texts placing female sexuality within the emerging discursive contexts of MeToo and feministdiscourses of the 2010s. Through this process, the project will ask: How do the discourses of MeTooframe and conceptualise female sexual agency and pleasure? How are these terms negotiated andproblematised in the audiovisual texts of this period? In what ways do the texts open up pathways thatgo beyond the conceptions of sexual power and pleasure permissible within the MeToo discourse?Moving beyond existing scholarship on MeToo (Boyle, 2019; Wilz, 2020), this project will question themovement's offerings and limitations, intervening in wider debates in feminist film theory, specificallythose pertaining to sexuality, power, aesthetics, and discourses on value. This project will build oninsights of queer and critical race theorists (e.g Bradbury-Rance, 2018; Jackson, 2018) to develop moreinclusive frameworks for examining female sexuality which challenge Mulvey's binary economy of thegaze (Mulvey, 1975) which has overdetermined the discussion on sexual exchange in the field. Attentionto race is crucial as MeToo has taken as its paradigm the experience of white women. The inclusion ofTelevision texts and the privileging of female authorship, both of which are crucial to understanding thechanges in representation over the last decade, will address further omissions in literature on screeningsex