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Land of same-sex marriage and judges getting kicked around because of same-sex marriage. Well the Des Moines Register tells us that Iowa is still safe for heterosexual couples:. A Waterloo lawyer who allegedly had sex with a client in the law library of the Black Hawk County Courthouse faces a possible suspension of his license. Bowles had sexual relations with one of his female clients on several occasions in and The client had a history of emotional problems and hired Bowles shortly after attempting suicide and checking herself into a psychiatric facility.

The two allegedly had sex that day and on several other occasions. In January , the two met at the Black Hawk County Courthouse where the woman allegedly offered to have sex with Bowles, which she believed would be treated as compensation for legal services.

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The two were allegedly engaged in sex in the courthouse library when another person walked into the room and saw them. The next day, Bowles allegedly represented the woman during a criminal court proceeding. Another tipster who sent in the same story did not mention anything about a bathroom. We have a plumbing emergency in the library which necessitates the closing of all of the library restrooms—all other restrooms in the law school are currently unaffected.

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Searches Related to "study abroad". You Are Leaving Pornhub. The page you're trying to access: In the postmodern presentation of film within a film, the play between Asia Carrera's porn life and true life provides erotic fodder. Bud's taking on Asia's name also signifies an acknowledgement of her star power and the gender power dynamics raised in their working relationship as husband and wife.

The commodification of her autobiography also informs the next film she writes and directs. Co-directed, written, produced, and composed by Asia Carrera, Apassionata 1 7 follows the life of a runaway homeless girl and her fantasy life as a racially unmarked princess in the time of Mozart. The film, a period piece with high production values, begins with Asia dressed in a white wig and ball gown in a scene that establishes her as a royal princess under the tutelage of Mozart, with whom she has a torrid affair. We realize these period Dressed in combat boots and overalls rather than Oriental accoutrements, Carrera stands out as racially distinct among the cast.

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The incongruence of her racially visible composition within the setting works as part of the allure. Nonetheless, her star persona as a model minority-a member of MENSA the high IQ club recently acknowledged her membership and a piano prodigy-inserts itself into the language of pornography. Indeed, part of her popularity comes from her racialized history; she played piano at Carnegie Hall in her early teens and taught English as a teenager in Japan, all details inserted in her porn star biography.

These biographical details highlight her exceptionality: What is such a good Asian girl doing in pornography? Her racialization occurs differently. It plays into the marketing of her stardom in pornography in a commingling of the intimate and the Other. The girl-next-door image combines with the model minority image. Asia Carrera retired from porn stardom in She runs an extremely popular website and weblog l 1 9 where she sells videos and other products, as well as propagates a sexual polymorphous perversity critical of heteronormativity.

She aims to control her own commodification by presenting testaments regarding her sexuality and lays bare anxieties about her career decisions; should she return to pornography? Her blog includes seemingly frank sexual self-presentations. For example, she describes her "luck" as vaginally orgasmic. She embraces and finds no contradiction in her positions as mother, wife, porn star, exhibitionist, and Internet entrepreneur.

Since , Asia Carrera's website has received 24,, hits. It features recent pictures in Hawaii after gaining twenty pounds in her post-retirement transition, a humorously written weblog that chronicles her weight gain during her pregnancy, a chat room without private chats available , frequently asked questions, make-up tips, and a biography. The site details her National Merit finalist award and full scholarship to Rutgers University, a confession of her plastic surgery exploits, and a testimony on Bio, last visited Mar.

We see her working on her computer and posing in the nude. She manages to bring the two images together: In sum, she presents a critique against moralistic approaches to sexuality, as well as a commodification of her racialized identity. In my analysis, I acknowledge how web-based self-representations work like self-publishing. They tend to present more idealized and edited versions of the self.

Asia Carrera's website testimony focuses on a racialized childhood that leads to sexual freedom. She describes, a struggle similar to Evelyn Lau, the award-winning writer of Runaway: Diary of a Streetkid. I was grounded for every "B" I got, and beaten for getting anything lower than that. I was not allowed to socialize at all, or go to parties, because they said there'd be time for that after I got into a good college. Well, I did what any red-blooded American kid would do, I'd sneak out. And get grounded again. Without launching into too much detail, let's just say I was unhappy. I tried to kill myself a lot Asian kids everywhere have ed me to verify that this is standard practice in Asian households -what a relief to find out I'm normal, huh!

Sometimes I fucked people I didn't want to, so I could have a place to sleep, or a good meal. I gritted my teeth a lot, and did what I had to, rather than crawl back home and grovel for my folks' forgiveness. The experiences she details are not only racial and cultural, but also gendered. Rebelling against her parents' policing of space and coping with her dire situation as a runaway through sex display a gendered experience. She battles moralistic judgment of her choices and her situation by highlighting her financial autonomy, eye for the future, and "love for life.

Asia Carrera Biography 2, last visited Mar. Asia Carrera celebrates race-positive living, intelligently analyzes racial subjection, and critiques moralism regarding the experiences of sexuality and race. On her website, we also see a successful entrepreneur negotiating her commodification in a form of feminist power. Porn Megastar Annabel Chong: By initiating the trend of the massive gang bang in the porn industry, Annabel Chong shot to the attention of popular culture critics and scholars. Like Asia Carrera, she is regarded as a "thinking" porn star in a kind of eroticization of the model minority stereotype--especially since she worked in pornography while an undergraduate at the University of Southern California.

Unlike Carrera, who enjoys recognition as having a "good head on her shoulders," Chong encounters more questionable reception, since both anti-pornography and sexpositive feminists may claim her. The expressive contortions of her face and body demonstrate the unreliability of representation, and her ambiguous presentation of the appearance of pain or pleasure. She also resists commodification by forwarding a deeply contradictory identity that negotiates the bounds not only of pain and pleasure, but also of good and bad.

She does so in well-spoken ways that seem to counter well her affinity for nasty sexual practices. As such, she receives more of a contested response for pushing the buttons of acceptable sexuality even within pornography. She has acted in over fifty porn films, and the World's Biggest Gang Bang established her fame for achieving the first world record for the most sexual partners for a The Jerry Springer Show: I Slept with Men in 10 Hours!

The Annabel Chong Story, last visited Mar. When the "intense, disturbing" 1 33 documentary about her experiences, Sex. The Annabel Chong Story,1 34 premiered at Sundance, it sealed her stardom outside of pornography. Unlike Wong and Carrera, who fulfill White standards of beauty in pornography, the smaller, shorter, and darker more visibly Asian and less racially ambiguous Chong fulfills the extremely perverse expectations for racialized sexuality in order to offer a radical critique of commodification and stardom.

The World's Biggest Gang Bang 13 touts itself as an incredibly unique project and no less than a historic event establishing a short-lived worldrecord number of sex partners. The film begins as the director and crew prepare for the shoot scheduled for the next day. The director explains the gang bang as Annabel Chong's idea. She explains the project's aim quite succinctly-to prove women can work as "studs," not "sluts. We meet Chong, who seems an alert, aware, and self-possessed young woman, as she surveys the scene of her dressing room and her set.

Dressed in a suit and speaking loudly in a British accent of sorts, she confidently walks through the sound stage-referring to her goals for the project and to her life as a student. Her navigation of contradictory words and worlds-wholesome, intelligent student speaking in an educated manner, coexisting with porn stardom-and the specificity of her fame as based on extreme perversity, combine to contribute to her appeal.

Whatever her motivation, an ad for nude models in the L. Weekly led to meetings with directors such as Ed Powers, director of Dirty Debutantes, and John Bowen, the director of World's Biggest, who talks about taking "this girl with an Asian look and an English accent" and making her into the nastiest porn star ever, who stages particularly extreme acts. That is, he finds worth in her Morris, supra note SEx: Annabel Chong also directed two films that I have not seen: An Internet porn star biographer lists Annabel Chong as "the one porno starlet who it can be said specializes in gang bangs, having appeared in lots of kinky group gropes for Bone [Director John Bowen] She is a kinky, crazy sexual dynamo who is one of the most popular Asian porno stars ever.

In one of many interviews, she offers the following critique; "I really believe that when you talk about banning porn because it's exploitative of women or because it's obscene, then it's terribly fascist. A CNN article states, "Quek In doing so, she also offers a more egalitarian, "equal opportunity" 14 2 approach to the porn process. In World's Biggest Gang Bang, she proves the sexual abilities of women like herself with a multitude of partners.

Claiming to have mastered the "triple penetration," an act involving vaginal, anal, and oral sex, Chong occupies a new face of feminism, worlds apart from anti-pornography feminists Dworkin and MacKinnon and Black feminists Walker, Garner, and Teish. A wide range of interpretations, from enslavement to empowerment, surround the notion of feminism in the commodification of Annabel Chong. Her facial expression of pain cannot serve as factual evidence of her oppression when her facial expression of pleasure looks similar.

The picture of her face presents much more complexity. In other scenes, she seems to be ridiculed by others: Scenes of her sidling up to [porn star Ron] Jeremy [emcee of the gang bang], Bowen, and others in the porn industry as if they cared about her are undercut by interviews [in Sex: The Annabel Chong Story] in which it's clear that she's been totally commodified in their minds- Bowen doesn't even pay her for the gangbang video that he himself World Sex Hosting, last visited Sept.

Once her record of guys is eclipsed, she's dismissed as "all washed up," and ends up gaggling with second-rate pormneisters over a few hundred bucks. She demands for the men to have sex with her, or summons them to her. Her commanding power in inciting the men to give it to her competes against the extreme close-up shots of her face in pain or pleasure.

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Since we cannot read pleasure or pain, we must remain open to the possibilities her critique alludes to, no matter how contradictory. Rather than follow the pornographers who dismiss her feminism in service of her commodification, I acknowledge the powerful way Chong brings to light the hypersexuality of Asian women within her professional experience.

In this film, Chong seems to successfully appropriate technologies of the camera and the contest for perversity in pornography in order to diagnose conventional understanding of female sexuality as bound and limited. She presents herself as an unreliable subject. So if anti-pornography feminists claim her as a victim, she counters their appropriation by offering a more contradictory subjectivity; a porn star that enjoys seeing herself sexually represented as a feminist claim to power. The Annabel Chong Story 14 7 "difficult to watch and utterly compelling" in the same breath with which they question the subject's reliability; "feminism's heroine or patriarchy's victim?

The film recollects the shooting of The World's Biggest Gang Bang and her declarations of reclaiming promiscuity for women and relinquishing the classification of "slut," in order to claim "stud. We also hear from her classmates and professor. In contrast, we see porn producers with incredible valley views from their homes as they comment on Chong. The disenfranchisement between actor and producer becomes particularly revealing when we discover that she never received payment for her work in the gang bang. We then follow Chong as she Chong herself understands the film as a somewhat "fair" but skewed image.

Indeed, the discourses around the film center on her victimization and feminism. Critics note that Annabel Chong's contradictory "double life" of porn star and academic needs further study. In her Asian Week article, "Sex: How does this woman reconcile her third-wave feminist studies with the objectification of porn; her Christian upbringing as a Chinese girl in Singapore with her toils as sex worker in the raw, Gen-X gonzo porn genre; and her speeches about sexual freedom as female empowerment..

Critics admire the quality of her openly sexual personality as well her assertion that women can "love sex and Chun illustrates Chong as far away from her spunky self at the end of the film; she seems "ready to be directed" rather than ready to direct her life. Chong offers a feminist platform that prioritizes sexuality as critical analyses against the victimizing discourses that tend to dismiss her critique as political and as feminist.

The prioritization of sexuality and her voice within the film both argue for a new subject of feminism: Her figure presents perversity as a feminist position. To borrow Morris's description, she "defiles the lure"' 58 of Asian women as passive victims by becoming the active participant in sex.

In this endeavor, the difficulty in assessing the pleasure or pain of her expression becomes productive. Precisely because of the difficulty in assessing the face, we should not forget that the encounter between others across difference cannot be assumed. Where this engagement leads needs further examination. In Sex, Chong confirms that she felt presented in a limited way.

Chong says this film should more appropriately be titled Sex: The Gough Lewis Story, as told through her body and life. Annabel Chong understands the importance of performance. She presents Grace Quek, documentary subject, and Annabel Chong, porn star. This occupation of an unstable subjectivity that shuttles from one position to another needs serious study for its political possibility.

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Rather than remaining stalled within the shocking nature of the sex acts, we can see the dynamic process of producing and creating them. Her voice remains strangely perplexing, however. As an unreliable subject, seemingly affected by drugs and alcohol, she makes the question of her agency difficult to answer. I believe it questions why we need to find her agency, or political possibility, as a sex worker and porn star. Through the force of unreliability, she rewrites racialized sexuality beyond victimization, in favor of achieving an elusive and out-of-grasp subjectivity. It turns out to be too tempting to relegate Annabel Chong to victimhood, to frame her gang bang with the gang rape highlighted in Sex: The Annabel Chong Story, and to say that she did not succeed in turning the slut into stud, especially since she did not get paid.

In her own words, she dispels the appropriation of her position as raped and victimized in World's Biggest Gang Bang. From this position, she directly provides an intellectual, social, and philosophical critique of these technologies and categorizations. Hypersexuality accompanies her powerful critique, developing it as an unstable and contradictory position that attests to the complexity and ambiguity of sex, race, and representation. Chong's interviews offer a nuanced critique of the filmmaker of Sex: The Annabel Chong Story, as well as the porn industry and restrictive Asian cultural values.

Not only did she want to critique gender limits for her own sexuality It really puts this terrible limit on what they can do in life. It's just another way of controlling-limiting the avenues of exploration that women are allowed to do. In claiming hypersexuality as political and personal critique, she is rendered unacceptable. It makes sense that since then, Annabel Chong no longer makes herself available, and instead presents another persona entirely.

The writing on her website offers an even more effective refusal of the question of her resistance. Annabel Chong's own words and own voice reject further inquiry regarding her character of Annabel Chong. Like Asia Carrera, Annabel Chong's website represents her voice in cyberspace after her retirement in I quote most of the brief site here in order to give indication of Annabel Chong's complex understanding of her self-formation as an avatar, announcing "game over" to those pursuing her further.

She chooses a new anonymity in cyberspace: Whatever happened to Annabel Chong? Annabel is dead, and is now replaced full time by her Evil Doppelganger, who is incredibly bored with the entire concept of Annabel, and would prefer to do something different for a change. From her shallow grave, Annabel would like to thank her fans for all their love and support all these years, and to let them know that she will never forget them. In that case, what is this Evil Doppelganger up to nowadays?

The ED is a diabolical yuppie who is working as a web developer and consultant. She specializes in ASP and. While the divine Ms Chong was busy doing her Annabel thang, the ED was surreptitiously going to computer boot camp to pick up some skills, so that she can permanently kill off Annabel Chong and begin her new life of peace and relative obscurity. Now she is making a pretty decent living being a horrible geek and all that, proving that there are second chapters in American life, to hell with F Scott Fitzgerald.

Whether or not true, she seems to confirm her unreliability as well as the political power of her position as a bound subject. In direct contrast to Asia Carrera, Annabel Chong's refusal Chun, supra note Annabel Chong, last visited Feb. Katrien Jacobs uses the term "monstrous revolt" to describe the work of sadomasochistic lesbian performance artist Maria Beatty.

Annabel Chong does, however, more than any other figure I study, teeter on the edge of the real and imagined. As unreliable, she rewrites sexuality outside of race as simply victimizing. As monstrous and outside legibility, however, her meaning registers as primarily bad, undesirable, and powerless. Where deviancy and hypersexuality stand as the norm in pornography, race provides the difference.

Through mainstream pornography, we can ultimately see that the vocabulary of pleasure does not exceed politics. Asia Carrera and Annabel Chong show us how the embrace of bad womanhood does not occur uniformly in its political critique. In their work, however, the study of the dynamics of fantasy, fetishism, money, power, and history in pornography can point to how we may expand Asian women's roles in the national imaginations to include their work of redefining race and sex in pornography. Within racialized communities, acknowledging perverse pleasures and enjoyment in sex and in viewing, performing, and criticizing offers a more viable politics of recognition.

At the same time, the experience of pain and the fear of re-inscribing images through Jacobs, supra note Id Id. Because of the strong establishment of perverse interiority associated with particular racial visibility-as we see through production design, narrative, and cinematography in pornography-the study of hypersexual representation can get caught up in an agenda of scopophilia, moralism, and propriety, especially if more precise definitions of sexuality do not arise.

The repudiation of sexuality in stereotype critique as fueled by moral panic, or the irrational fear regarding how sexual issues challenge the basic moral fiber of societies, 68 becomes apparent in the binary between anti-pornography and sex positivity, which exist as the predominant frameworks for assessing pornography. Such an approach exemplifies how subservience and non-normative sexuality in representation are continually framed as bad, negative, and ultimately injurious.

Applying such a restrictive framework of bad versus good to an ambivalent process often leads to the view of sex as simply resulting from systemic racism and fails to intimate the dynamic and ever-complicated specificity of history. When theorized as injurious, our understanding of the political utility of these images is undermined by moral panic responses that shut the door on different kinds of viewing, as well as on alternative sexual forms and relations that emerge from the experience of both sex and representation.

We need to insert Michel Foucault into this discourse: Sex forms identity, and thus expresses new horizons of being that need to be mined for their political possibilities. It's a part of our world freedom. Sexuality is something that we ourselves create-it is our own creation, and much more than the discovery of a secret side of our desire. We have to understand that with our desires, through our desires, go new forms of relationships, new forms of love, new forms of creation. Sex is not a fatality: Furthermore, when we run and hide from sex, we do not solve the problem of how the pathology of hypersexual images will haunt and return-invading our self-perceptions and defining our most important relations and our very movements in the world.

Looking at sex in terms of the quality of unknowability, rather than as a containable entity in the form of race-positive sexuality, emphasizes a process of enlarging the imagination and enabling entry into the dialogue of pleasure, as well as pain, in race-positive sexuality. I use the term unknowability to discover the limits of moving image media to adequately represent social experience. Representations are historically situated attempts to comment on social experience. Moreover, any representational facts are up for debate. While there are indeed certainties about what may occur on screen or stage, the concept of unknowability insists on the ultimate unreliability of representation, as well as the ever-changing understandings of subjectivity, memory, and history.

For example, Nayan Shah also cautions us against the valorization of sex, especially in queer critique, if it ignores the sexual and gendered marginalization of women. Manalansan asks us to interrogate the kind of sexuality being celebrated. How are queers, and especially queers of color, marginalized when celebrating homosexuality as handmaidens to normative heterosexuality? Id In her study of the materiality of film itself, Laura U. Marks describes how video can bring to being what is lost and unsaid, while also failing to do justice to the densities of experience at the level of the senses.

She describes the unknowability of the Other in zoology, pornography, and ethnography as attempts that capture what is gained and lost in video. It prioritizes making room for sexual minorities who advocate perversity as a political practice critical of normative positions of race and sex. Asia Carrera and Annabel Chong emerge from this hypersexual legacy in order to provide two different political engagements with pornography.

Annabel Chong especially challenges acceptable forms of politics and power; she insists on the unreliability of representation and the unknowability of the race, class, gender, and sexual experiences. She shows this complexity by exposing her vulnerability as hard to pin down. Then, she runs away. I surmise that her flight is an attempt to flee the oppressive power of classification, and to keep the debates about her power or powerlessness open. Along the way, she opens space for the formulation of race-positive sexuality that attests to the need for us to maintain the complexity of representation.

We can acknowledge images of Asian women as perversely and pathologically sexual in Western cinema, and from there argue that the condemnation of non-normative sexuality and the simplification of the process of viewing a film do not sufficiently illustrate the political possibilities raised in watching race and sex on screen.

The space between bondage and freedom in defining racialized sexuality proves vast, ambiguous, and complex in ways we need to sustain as ever-mysterious and surprising in terms of their political possibilities. Feminist Ethnography By Kristin Aune Feminist ethnography is a research methodology, a theory about how research should proceed. Its principal method is observational research conducted over time and motivated.

Imagine that you are teaching a class in academic writing for first-year college students. In your class, drafts are not graded. Oxford Scholarship Online You are looking at of 8 items for: Fatherhood and Masculinity in Britain, Item type: The way that we understand both is also different. We firstly need to think of the ways in which films and books tell their stories.

Writing About Film This handout discusses ways to approach film as a visual medium. It offers suggestions for. Analysing Still Images In visual texts, the basic units of meaning are the elements of which the text is composed, such as representations of people, objects, and places. Conventions such as size, colour,. The following course units will be offered: In contemporary political philosophy feminism is one of the most important theories emerging in the Twentieth Century.

The contemporary debate on private-public debate has been greatly impacted by the. Gender Theory Overview In this lecture we will focus on the difference between sex and gender, and review the emergence of the study of gender as a discipline.

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Objectives By the end of this topic you. Understand theories associated with major social divisions, inequalities, differences and diversity in contemporary society 2. Appreciation The act of discerning quality and value of literary texts.

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It focuses on developmental and topical approaches to important facets of women. A social construct that artificially divides people into distinct groups based on characteristics, such as physical appearance particularly color , ancestral heritage,. The Cardinal Rule Questions a teacher might. Information for Educators Summary of the Show: Humanities Department Telephone FA Introduction to Film Outcome 1: Will be able to identify and explain the different languages of filmmaking, including cinematography, editing, mise-en-scene.

Module 1 - Worldview and Mindset Defining Culture Whatever you do, or wherever you go, or whatever you take part in will, in some way, reflect your own understanding of and position in culture.

September 24, Suzanne B. Issues for the Coming Decades I am delighted to be. Examining unwanted sex within marriage K. Santhya, Nicole Haberland, F. Mohanty Extended Abstract Background Domestic violence generally, and sexual coercion. Hollywood, Superheroes and IR: For many people the First Amendment. Understanding Communication "A lot of people say to me, you must really love your work and you must be really lucky.

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