Poly Planet GAIA | ecosexual love | arts of loving | global holistic health | eros | dissidence: UCHI Series - "Amorous Visions"
Showing posts with label UCHI Series - "Amorous Visions". Show all posts
Showing posts with label UCHI Series - "Amorous Visions". Show all posts

Monday, February 18, 2013

UCHI, Feb 28, 4PM - Amorous Visions: The Gaze of Love for Love, or Erotophilia, in Cavani and Bertolucci

Dear Earthlings, 

The presentation of the year is coming up for me soon.   You're invited.   I can't wait to see you!
 
The Night Porter

What guides a director’s gaze into the web of memories shared by lovers whose circumstances were extreme?  Does the fear of love dissipate when an auteur looks whose sense of sexuality is fluid and style of love inclusive?  This presentation will discuss cinematic techniques of memory retrieval in two Holocaust-themed art films of the 1970s produced in Italy: Bernardo Bertolucci, in The Conformist (1970), and Liliana Cavani, in The Night Porter (1974).  Each presents a gendered perspective on what happens when a species acts against its own best interest--when it becomes self-destructive.  How can this behavior be exorcised?  Can love for love prevail over the pall of fear? These are, I claim, the main questions the films posit for 21st century viewers.


Amorous Visions:  The Gaze of Love for Love of Erotophilia.   
The Conformist
Presented by Serena Anderlini, PhD, and Research Fellow at U Conn's Humanities Institute.
Where: UCHI, CLAS/Austin Building # 301.  215 Glenbrook Road, Unit 4234.  Storrs, CT 06269.
When: Thursday, February 28h, at 4:00-5:30 PM.
Free of charge and open to the public.
For more information call: 860 486 9057



Note: The presentation will be enhanced by numerous selected clips from the movies under discussion.

Bernardo Berolucci, director of The Conformist, Last Tango in Paris, and many other films, including, recently, The Dreamers.  

Liliana Cavani, director of The Night Porter, Beyond Good and Evil, and The Berlin Affair, known collectively as The European Trilogy, and many other films. 

Note: The presentation will be followed by an open questions and answers period. 


About the Presenter:
Serena Anderlini-D’Onofrio, Ph.D, is a Professor of Humanities, Italian, and Cinema at the University of Puerto Rico, Mayaguez.  She is a current Research Fellow at UCHI.  A UCR graduate, she is the author and editor of numerous award-winning books, including Gaia (2009), Eros (2006), BiTopia (2011), Bisexuality and Queer Theory (2011), Plural Loves (2005), Women and Bisexuality (2003), and The ‘Weak’ Subject (1998).  She has charted new fields, including ecosexuality and the arts of loving sustainably and inclusively.  Her new work includes a study of sustainable practices of love and a collection of writings on ecosexuality.

Find out more about UCHI's presentations, programs, and activities:  UCHI

As a comment: I feel an immense gratitude for this Fellowship research year.  My spirit feels rejuvenated and revitalized by the inspiration and creativity that it's been immersed in.  It has been a wonderful gift to be in the company of fellow Fellows and their projects, and to have access to the abundant research resources of U Conn, Storrs.  Also, it's lovely to be immersed in discourses across disciplines and a campus abundant with Centers and Institutes where these conversations flourish.  

This is the most important presentation in my Fellowship year.  It's a public presentation designed to offer the pulse of where my project is at and where it's headed to.  It's been a pleasure to prepare it, with abundant technical assistance at the Institute.  And I hope it will be well received and inspire a generous amount of questions and genuine debate.

Thank you, U Conn.  Thank you, UCHI.


Photo by Mina Bast
Education is the heart of democracy, education to love.  
We offer a seminar this summer:  Ecosexuality: Becoming 
a Resource of Love. Join us in Portland, OR, July 17-21, 
for this amazing experience.  It's still early-bird time for 
those interested.  Register now here!
Come back for more wonders. 


Namaste,
 


Serena Anderlini-D'Onofrio, PhD

Gilf Gaia Extraordinaire

Author of Gaia, Eros, and many other books about love
Professor of Humanities

University of Puerto Rico, Mayaguez

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Monday, November 26, 2012

UCHI Series - Intro to "Amorous Visions," on Video

Dear Earthlings,

Did you get to read my notes and watch the clips about my intro to "Amorous Visions: Fluid Sexual Moments in Italian Cinema"?  They appeared last week.  Now you can take a shortcut and simply watch this video of my presentation to the Fellows group.


I can't go into as much details as i would like to.  But it's a good scoop.  If you'd like more details, go back to the posting of November 12, 2012.  You'll find out all about why these "fluid" and "inclusive" scenes are so pivotal.  You'll get to watch the clips, with the finale of a "three-way kiss."

It's great to share some of what I'm doing here at U Conn Storrs in my Fellowship year.  

Stay tuned for more posting on Mondays in this series.  We will go back in time to the beginning of the Fellowship period, when i introduced the project to the group.

Oh, I almost forgot this:

Want to know more about yours truly's new book? What Is Love dares to engage the million dollar question!  Would like to pre-read?  Find out how to endorse the book here.

Education is the heart of democracy, education to love.  

Come back for more wonders.   

Namaste,
 
Serena Anderlini-D'Onofrio, PhD
Author of Gaia, Eros, and many other books about love
Fellow at UCHI
Professor of Humanities 
University of Puerto Rico, Mayaguez
Join Our Mailing List

Follow us in the social media
Poly Planet GAIA Blog: 
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YouTube Uploaded Videos: http://www.youtube.com/SerenaAnderlini
 
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Monday, November 19, 2012

UCHI Series - Intro to "Amorous Visions: Fluid Sexual Moments in Italian Cinema"

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Dear Earthlings:

As promised, the intro to my UCHI project presented on September 12, 2012.  Check it out an watch the three beautiful clips, with a finale of a "bisexual kiss."  
I'll stay tuned for your comments.
Introduction

Amorous Visions: Fluid Sexual Moments in Italian Cinema

Serena Anderlini-D’Onofrio, PhD

Anna and Giulia in Bertolucci’s The Conformist, 1970

Intent

Providing evidence for the argument that "sexual fluidity" and "amorous inclusiveness" are natural elements in the human expression of love.

Using Italian cinema as an art form that bears witness to that truth.

Abstract

This study articulates a new interpretation of pivotal scenes in selected classics of Italian cinema based on the cultural constructs of “amorous inclusiveness” and “sexual fluidity” elaborated in recent cultural analyses of human sexual, erotic, and amorous behavior (Ryan and Jetha 2010, Diamond 2009). These classics include Pasolini’s Teorema (1968), where a mysterious guest awakens the erotic libido of all members in a nuclear family, and Bertolucci's The Conformist (1970), where a charming hostess similarly awakens both members of a newlywed couple. Based on these new interpretive paradigms, these scenes acquire a new meaning that discloses the bisexual and polyamorous content therein. This enables more positive and complete understandings of the films as projects that artistically express love for love, or erotophilia. As an experienced scholar who charted new research fields that study love as the art of crossing beyond sexual divides and exclusivity (BiTopia, 2011), I am uniquely prepared to articulate these interpretations.

Research and Contribution 

Based on Deleuze's postmodern philosophy of cinema (1986), a film scene is a “movement-image” that stills time for future generations of viewers and can inspire transforming practices and movements. In many classics of Italian film, these scenes reflect pre-modern belief systems that precede monogamy and hetero/homo-normativities. As the expression of a 20th century cinematic culture and tradition, Italian film encodes many of the contrasting beliefs that have historically characterized the multiple cultures that have inhabited the peninsula. For example, the notion that love is an art and desire is fluid was common in antiquity, when the modern concept of sexuality did not exist. This situation provides a fertile context for the study of a film’s diegetic structure that pivots on scenes where the socio-sexual conventions of monogamy and monosexuality are momentarily suspended. Are these cinematic moments “bisexual”? Are they “polyamorous”? In this cinematic culture a director is considered the “author” (or auteur) of a film. What do the scenes reveal about this author? Is the director’s gaze coded in them? Why do the films appear so “queer” even though they are not part of an LGBTQ film tradition? To what extent do new generations of viewers get to redefine what these moments mean? 

 Interpretive Perspective

The interpretive perspective I propose is authorized by numerous recent studies of human sexual fluidity and amorous inclusiveness that converge in assessing its biological and cultural roots. Lisa Diamond’s longitudinal study of women’s sexual desire proves that sexual orientation exists alongside with variable degrees of sexual fluidity (2009). Matthew Ripley (et al.)’s study of bisexual men registers an increasing degree of comfort with this practice and identity at least in the secular world. Based on recent findings in Clinical Psychology at Northwestern University and from the Human Rights Commission, bisexual behavior turns out to be natural and healthy for a large number of humans (Rosenthal, LGBT Advisory Committee, 2011). Christopher Ryan and Cacilda Jetha’s study of the prehistoric origins of human sexuality proves that inclusive behavior in both sexual and parental love has been prevalent in human cultures and communities over the course of the prehistoric life of our species (2010). Monogamy is a social construct that becomes normative with history. Our species is not biologically programmed for it, which explains why so many people have trouble adjusting to it. 

Revisiting the "Fluid," "Inclusive" Scenes
 
If sexual fluidity and amorous inclusiveness are “natural” for humans, then it is a good idea to look again at classics of Italian cinema for scenes of “sexual fluidity” and “amorous inclusiveness.” What do these scenes mean? Why are they significant? What new visions do they authorize if interpreted as cinematic moments that establish an early legitimacy for behaviors subsequently found to be natural for our species? Why do we still so often perceive these behaviors as “queer”? Can our vision of what is natural transform to include these behaviors too? How does the authority of new science about sexual fluidity and amorous inclusiveness in humans legitimate these new visions? These are questions in my mind as I plan to revisit the erotic awakening of Francesca and Silvana in Riso amaro (1948); the one the guest bestows on the frigid nuclear family members of Pasolini’s Teorema (1968).  The charming French hostess, in Bertolucci's The Conformist (1970) similarly awakens the newlywed Italian couple writhing with erotophobia from the Fascist regime; and a number of other similar scenes.  


Silvana and Francesca bond as confidantes in Riso Amaro

  
Anna and Giulia dance together in The Conformist
As the new paradigms of “sexual fluidity” and “amorous inclusiveness” are put to work toward interpretations of classics of Italian cinema whose world fame exceeds their original cultural location, these interpretations will bring up unsuspected continuities. Binaries around which human sexual, erotic, and amorous behaviors have been organized include homosexuality and heterosexuality, monogamy and polyamory, modernity and antiquity. The cultural polarizations these binaries produce are in the way of envisaging worlds beyond these binaries. Directors whose key scenes represent “fluid” and “inclusive” moments produce visions of worlds possible beyond these binaries, were love for love, or erotophilia, prevails over erotophobia, or fear of love.  A recent example of this is the fluid, inclusive kiss scene in Ferzan Ozpetek The Ignorant Fairies (2001). 

Antonia and Michele exchange a "bisexual kiss" in The Ignorant Fairies 
 The Million Dollar Question:
How can we create a world where Massimo, the shared lover who binds Michele and Antonia erotically, wouldn't have to be dead for Michele and Antonia to kiss?
How can humanities-based interdisciplinary research help to make this happen?
Thank you!

Work Cited List
Primary Sources

Bertolucci, Bernardo.  Il conformista/The Conformist.  Rome: Green Film, 1970.
De Santis, Giuseppe.  Riso amaro/Bitter Rice.  Rome: Lux, 1948.
Ozpetek, Ferzan.  Le fate ignoranti/His Secret Life.  Rome: Medusa, 2001.
Pasolini, Pier Paolo.  Teorema.  Rome: Aetos Film, 1968.

Secondary Sources

Anderlini-D’Onofrio, Serena.  “Bisexual Games and Emotional Sustainability in Ferzan Ozpetek’s Queer Films.”  New Cinemas: Journal of Contemporary Film: 2: 3 (2004): 163-174.
Anderlini-D’Onofrio, Serena.  Gaia and the New Politics of Love: Notes for a Poly Planet.  Berkeley: North Atlantic Books, 2009.
______  ed.  BiTopia: Selected Proceedings from BiReCon 2010.  Routledge, 2011.
Deleuze, Gilles. Cinema 1: The Movement-Image.  Tomlinson, Hugh, tr.  Minneapolis: University of Minnesota Press, 1986.
______  .  Cinema 2: The Time-Image.  Tomlinson, Hugh, tr.  Minneapolis: University of Minnesota press, 1989.

LGBT Advisory Committee.  Bisexual Invisibility: Impacts and Recommendations.  San Francisco: Human Rights Commission, 2011. 
Ripley, Matthew, Adrian Adams, Robin Pitts, Eric Anderson.  The Decreasing Significance of Stigma in the Lives of Bisexual Men: Keynote Address.”  In BiTopia: Selected Proceedings from BiReCon.  New York: Routledge, 2011.
Ryan, Christopher and Cacilda Jetha.  Sex at Dawn: The Prehistoric Origins of Modern Sexuality.  New York: Harper, 2010.  Kindle Edition.




Dear Earthlings,
Courtesy of Poliamore Italia
Remember to come back on Thursdays for more snippets of what yours truly is up to.  
Want to know more about yours truly's new book? What Is Love dares to engage the million dollar question!  Would like to pre-read?  Find out how to endorse the book here.
Education is the heart of democracy, education to love.  Come back for more wonders.   

Namaste,
Serena Anderlini-D'Onofrio, PhD
Author of Gaia, Eros, and many other books about love
Fellow at UCHI
Professor of Humanities 
University of Puerto Rico, Mayaguez
Join Our Mailing List
Follow us in the social media
Poly Planet GAIA Blog: 
http://polyplanet.blogspot.com/ 
Be Appraised of Ecosex Community Project PostaHouse 
Become a Fan: www.facebook.com/GaiaBlessings 
Author's Page/Lists all books: 
YouTube Uploaded Videos: http://www.youtube.com/SerenaAnderlini
 
Find us on FacebookFollow us on TwitterView our profile on LinkedInView our videos on YouTubeVisit our blog

PostaHouse: Apennine Eco Community