Sexos sangrantes: Lo menstrual como significante de lo femenino en la visualidad pospornográfica

Abstract

Post-pornography points out the overcoming of the contraposition between erotism and pornography, finding, from diverse theories, artistic and political practices, a new way of recovering the identified scene, specially, in the erotic image language. The distance, the staging and the pose work as devices of a pervertion not only identified in the erotic image but, precisely, as devices that corrupt the pornographic continuity itself. The erotic image distance interacting with the pornographic foreground obscenity seems to be some kind of new aesthetics of the grotesque in the female body. From the female genitalia obscenity in the “anatomy of hell” proposed by Catherine Breillat in entomological code—according to the director’s words— this essay pretends to approach a new representation of female sexuality that furthers from the illusory representation in pornography and begins, just like the flesh fleshy delight questioned by Angela Carter, the analytical alluring cancellation of the female body overthrown by the clinical sensuality of the anatomical horror.