At any point in her life up to now, she has had – according to some people – at least one unpleasant bodily detail that ‘had to be dealt with’. Oddly (or sadly) enough, at other times in her life there were people who found these very same body parts nice, charming, and sexually pleasurable. The first were women. The second were men. “Thank god for the other gender,” she concludes.
Margreth Olin’s film is what the title says it will be: a private, visual enterprise that combines private footage with intentional documenting and reconstruction, resulting in a personal history structured around a number of body-related, externally induced and healed anxieties.
For contemporary viewers, ‘post’–lots-of-things (women’s liberation included), and currently floating somewhere between ‘lipstick’ ‘feminism’ and ‘fluffragettes’, there are a number of familiar, if not too well-known, issues recalled by Olin’s film. Among them, the idea that, well-intentioned or not, families can be a major source of body-image-related stress. Also that, after a long-term consumption of patriarchy, women have finally internalized their corsets. Olin deals exclusively with her own device but touches on the broader picture by pointing out a number of controlling discourses relative to body image that circulate both within and outside the family.
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