Titlebook: Cinema, Pain and Pleasure; Consent and the Cont Steven Allen Book 2013 Palgrave Macmillan, a division of Macmillan Publishers Limited 2013

Ardent

https://doi.org/10.1007/978-981-99-7683-6ch as . and even . and . began considering the possibility, and in some cases the compunction, to experience pain as a form of exquisite pleasure. The case studies therefore highlighted a progressive shift towards acknowledging the potential delights, benefits even, of releasing control and accepting the pleasures of pain.

Coordinate

Choosing Torture Instead of Submission,ch as . and even . and . began considering the possibility, and in some cases the compunction, to experience pain as a form of exquisite pleasure. The case studies therefore highlighted a progressive shift towards acknowledging the potential delights, benefits even, of releasing control and accepting the pleasures of pain.

破译

轻浮思想

the late twentieth century to narratives that highlight subjection, endurance and willed-acquiescence, it probes the confluence of pain, pleasure and consent to analyse the implications of the change.978-1-349-33989-1978-1-137-30669-2

音的强弱

Spatial Structure and Regional Development, been foundational not only to gender studies but also to broader, cultural, social, historical and anthropological work. Many of the films discussed in the following chapters address these very discourses, and with the controlled body being such an amorphous topic, it is imperative to examine work

Fibrillation

Spatial Structure and Regional Development,ctatorship as a possible site for masochistic pleasure for the male observer (Willemen 1981; Neale 1983; Hutchings 1993; P. Smith 1993), it is surprising that so little analysis has focused on cinematic depictions of coercion that throb with the resonance of BDSM. Recent exceptions include McCosker

2否定

整理

Spatial Structure and Regional Development,tieth century. BDSM was at the forefront of the new direction taken, and body modification sporadically but intensely negotiated the thorny issue of consenting to pain. United by themes of marking and controlling the body, plus the concomitant pleasure in suffering, there was, however, no unifying g

不能根除

https://doi.org/10.1007/978-981-99-7683-6ed by a masochistic impulse. Sadism was hardly eclipsed, with torment rather than ecstatic submission remaining the dominant formulation, but films such as . and even . and . began considering the possibility, and in some cases the compunction, to experience pain as a form of exquisite pleasure. The

Mortal