Through the keyhole by Marcela Iacub

Through the keyhole by Marcela Iacub

Author:Marcela Iacub [Iacub, Marcela]
Language: eng
Format: epub
Tags: History, Social History, General
ISBN: 9781784998110
Google: NXa5DwAAQBAJ
Publisher: Manchester University Press
Published: 2016-05-01T03:04:17+00:00


* Translator’s note: The Piscine Molitor was part of a now-defunct swimming pool complex at Porte Molitor in the 16th arrondissement of Paris.

Notes

1 But censorship has remained in place for cinema up to the present day.

2 Le Journal, 25 April 1908.

3 Le Courrier français, 25 June 1893.

4 During the 23 June hearing, in which the accused from this ball were heard, two other cases of public nudity were also judged. There was also the case of a ball organized by the newspaper Fin de siècle on 1 March 1893—with the same models who undressed in the same way— to which 2,000 persons were invited. At the “supper for 200 women,” in a restaurant, one woman undressed in front of all the invitees. Cf. La Gazette des tribunaux of 24 June 1893.

5 This turmoil resulted in the election to the National Assembly of a young lawyer named Viviani, who was a true symbol of the indignation that had been stirred up within the populace because of the extreme police brutality against the students. These events were reported by Maurice Garçon, Histoire de la justice sous la Troisième République, Vol. II, “Les grandes affaires,” Paris, Fayard, 1957, pp. 294–295.

6 With regard to shutting down performances that can lead to public disorder, see Chapter 6, note 9, in which the authority of the administration of live performances is clarified.

7 Fantasio, II, 1907, p. 82, cited by Bologne, Histoire de la pudeur, p. 238.

8 This started with a letter that Béranger addressed to the public prosecutor in which he said the following: “Until now, in our opinion, the various nudities too widely allowed in theatrical performances have had to at least be covered with a singlet. At this time it appears that the small stages of the Alhambra and the Olympia offer the public such performances without even this insufficient attenuation. On the stage of the music hall on the Rue de Malte, a woman who, according to one newspaper, appears ‘completely nude and gives the illusion of marble […]. One of the artists agreed to represent this statue without even a singlet.’” Another paper stated that “at the Olympia, three shapely, completely nude young women, covered only in a thin layer of gold, appeared as living statues of the precious metal.” Our society does not hold itself responsible for such news; it even likes to hope that they are only deceitful claims, meant to draw in the public like bait to an audacious and unprecedented spectacle. But you will no doubt consider that it is up to the justice system, the only guardian of decency at the theater today, to inquire into this subject, and I have no doubt that, if the published claims are true, you would consider them as grave as the shortfalls as highlighted in my speech until now, and would prosecute them as constituting the crime of indecent exposure” (cited by Maurice Garçon, Histoire de la justice sous la Troisième République , p. 287).

9 Fantasio III, 1908, I, p. 360, cited by Bologne, Histoire de la pudeur, p.



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