Not Signed-In
Which clippings match 'Prostitute' keyword pg.1 of 1
19 FEBRUARY 2017

Jean-Luc Godard's first film: Une Femme Coquette (1955)

"The film, based on a Guy De Maupassant short story, was Godard's first shot at a narrative. It's often listed as lost by biographers, and the find is tremendously significant for French New Wave enthusiasts. There are also several easter eggs in the work for Godard fans: the director cameos two minutes in, the story is later re-adapted in Godard's 1966 film 'Masculin Féminin,' and the work itself is credited to his film-critic pseudonym, Hans Lucas.

Just five years after shooting 'Une Femme Coquette,' Godard would release his early masterpiece, 'Breathless.' There is so much of the energy of that latter work in this earlier vision, shot on a borrowed 16mm camera."

(William Earl, 18 February 2017, Indiewire)


1955 • A Flirtatious Woman (1955) • based on novel • black and white • Carmen Mirando • coquette • early work • flirtatious • French filmmaker • French New Wave • French-Swiss film director • Genevagesture • Guy de Maupassant • Hans Lucas • Ile Rousseau • imitation of an actioninfluential filmmakerJean-Luc Godard • Le Signe (Guy de Maupassant) • Maria Lysandre • non-sync sound • prostitute • Roland Tolmatchoff • short fiction film • short film • Swiss filmmaker • Switzerland • The Signal (Guy de Maupassant) • Une Femme Coquette (1955) • voice-over commentarywoman


Simon Perkins
06 NOVEMBER 2013

The x:talk project: a sex worker-led knowledge sharing co-operative

"In early 2006 several activists based in London who are involved in sex worker rights activism, organising within the International Union of Sex Workers in particular, began to conceptualise and organise around the x:talk project–one that would seek to explore and expand the ideas and confidence we have developed in criticising the mainstream human trafficking discourse, drawing on insights we have gained from sex workers', migrant and feminist struggles.

The racist and anti–feminist trafficking rhetoric of 'protection', mainstream anti–trafficking campaigns that reduce women to only passive victims, under the control of organised crime or of cruel men produces and justifies deportation of migrant sex workers and increases the criminalisation and exploitation of workers in the sex industry. It creates divisions between migrants' and sex workers' forms of organisation and resistance.

We found language and communication to be crucial elements to directly challenge and change conditions of work and life, and to come to together and to organise. Communication is in our view central to change. Language is a basic individual and collective power that improves both possibilities to work and possibilities of resistance.

Central to our vision stands the autonomy of all people moving across borders and the dignity of every gender employing their resources in the sex industry. Central to our understanding of gender and social relations is an understanding of sex work as labour. People who sell sex are involved in a labour process in many respects similar to other paid personal services exchanged on market. At the same time we recognise that the ways in which sex work has existed are also deeply interrelated to the ways in which 'female' services, such as caring, domestic, sexual and reproductive activities are supposed to be provided. It is important to consider that the demand for money for sex in a transparent and potentially contractual way is often a break and significant shift in the way women are expected to give these services for no remuneration.

We consider that a feminist analysis and practice is crucial to changing the sex industry. Women represent the majority of workers in the industry and gendered sexualised and reproductive labour have historically constituted a central part in the structures that subordinate and oppress women. The people that have taken the main initiative of this organisation and project are women. Starting from the ground up, in a grass roots way we nevertheless aim to work with the whole industry. Due to the demographics of the workforce in the sex industry, women play a central role in the organisation and are expected to make up a majority of participants in the classes. We/they represent the majority and we/they enjoy the strongest voice at the moment. However issues of gender and transgender difference–at their intersections with racial and sexual issues are taken into account in the development of activities in order to include people from across the industry and from diverse backgrounds.

In contrast to the current mainstream anti–trafficking policies and discourses we work towards the improvement of working conditions in the sex industry; for rights and recognition of workers; the right to change work and not to be forced to stay with the same employer and the right to stay and not to be deported. Our organisation is based on a practice of sex workers self organisation and our projects are primarily built on an activity of networking with those that have already organised similar projects according to these principles."



2006activism • anti-trafficking campaigns • anti-trafficking discourses • anti-trafficking policies • autonomyborders • co-operative • collective power • criminalisation • cruel men • deportation • dignity • domestic services • empowermentexploitation • female services • feminist analysisfeminist perspectivefeminist struggles • forced labour • gender and social relations • gender difference • gendered labour • grass roots • human trafficking • immigrant experience • International Union of Sex Workers • knowledge sharing • labour process • language barrierslanguage learnerslanguage of thingslanguage skillslanguages of legitimationLondon • migrant sex worker • migrant struggles • migrant workers • organised crime • passive victims • personal services • power relationsprostituteprostitutionprotectionracist language • remuneration • reproductive activities • reproductive labour • rights and recognition • safeguarding • safer conditions • sexsex industry • sex work • sex worker • sex worker rights • sex workers • sexual exploitation • sexual issues • sexual slavery • sexualised labour • subordinate womentrafficking • trafficking rhetoric • transgender difference • victimwomenworkforce • working conditions • x:talk project


Simon Perkins
24 NOVEMBER 2009

Heterotopia: hinterlands, wonderlands, borderlands and brothels

"Heterotopia can be described as a material space as well as a conceptual, virtual, urban, and even geopolitical spatial construct, including hinterlands, wonderlands, borderlands and brothels. Heterotopia is an unwieldy collection of Other space – including museums, military camps, colonies, libraries, and cemeteries."

(Ace Sophia, 13 February 2008)

Fig. 1 Fran's Star Ranch / Angel's Ladies (4miles North of Beatty, Nevada on U–95)



borderland • brothel • cemeterycolonyconceptual spaceconstructioncritical theory • geopolitical spatial construct • heterotopia • hinterland • librarymaterial space • military camp • museumother spacesprostitutespaceurban spacevirtual space • wonderland


Simon Perkins
04 JANUARY 2009

Conflicted Selves: Women, Art, & Paris 1880-1914

"By the mid–nineteenth century, the academic tradition of the Paris Salon was under attack by artists who wanted to break with the image of an ideal female body, and replace it with a reflection of the nude as it might be seen in the contemporary, modern world. The realist artist Edouard Manet shocked the Salon public with Olympia in 1863, a portrait that completely disregarded the formalist tradition of painting the nude, and depicted a low–class prostitute sprawled out on an unmade bed. Contemporaries labelled Manet's technique rough and crude, his brushstrokes hurried and inconsistent, and his use of colour alarming.[8] Olympia's skin, in particular, caused outrage. Unlike the polished finish of classical nudes, Manet had used tones of yellow and grey, which made her skin look sallow, and had outlined her figure in a rough, dark line, which gave her a flat and two–dimensional appearance. Art critics noted that Olympia had 'dirty hands and wrinkled feet;' 'her face is stupid, her skin cadaverous [...] she does not have a human form.'[9] They also criticized Manet's break with the traditional rules of the gaze. Unlike Venus's seductive, yet demure and mysterious half–glance, Olympia stared brazenly out from the canvas. Her forceful gaze communicated confidence, defiance, and self–possession, which was disarming when paired with her nakedness. The subject matter was also roundly criticized. Manet had painted a common prostitute, not a genteel courtesan, and had made no attempt to conceal this fact. As T. J. Clark has noted, her placement in a comfortably bourgeois setting added to the shocking effect of the painting, and in the figure of Olympia, Manet had successfully bared the social taboos of prostitution, illicit sex and disease, all of which were growing concerns during the second half of the nineteenth century. With this image, Manet had created what he felt was a realistic, honest, depiction of the female body, one that was stripped of the artistic traditions of form and technique, and connected to some of the disconcerting elements of modern life."
(Julie Anne Johnson, 2008)

[Edouard Manet''s Olympia works as a parody of Titian' 'The Venus of Urbino'.]

8. T. J Clark, The Painting of Modern Life: Paris in the Age of Manet and his Followers, New Jersey: Princeton University Press, 1984, 134.

9. Charles Bernheimer, 'Manet's Olympia: The Figuration of Scandal,' Poetics Today, Volume 10, Issue 2, Art & Literature II (Summer 1989): 255–277, 256.




Simon Perkins
04 DECEMBER 2008

National Gallery shows the world's oldest profession

"London's National Gallery will be showing the work Hoerengracht, by Ed and Nancy Kienholz, in November next year. The walk–in installation recreates, in meticulous detail, the 'whores' canal' of Amsterdam's (in)famous red light district."

(The Guardian, UK)



architecturecityderive • Hoerengracht • installationprostitutepsychogeographyscalesex workerurbanism


David Rogerson

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