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Can't Argue Much With Susie Bright

The writings of both Kessler and Noble, are indicative of a consensus that Susie Bright's ability to allow for a sex scene that intentionally avoids Hollywood's conception of Lesbian sexual relationships, complicating butch/femme divisions of submission and aggression, “avoid phallocentrism, in that it focuses on the expressions of pleasure on Violet's face…rather than penetration or actual genitalia?, among other markers of authenticity, is a very real talent indeed. This being said (and said), by so fully committing to such a universalized erotic sex scene (the cross-over Kesslers speaks of) that allows a spectrum of sexual identities to enjoy and identify we see the same problematic beauty standard upheld and highlighted.

It could be argued as Kessler does that (among the above reasons) by physically marking the bodies of these actresses as femme/butch the director is able to appeal to both audiences. This may be, and I believe is true, the reproduction of flawless skin, thin bodies, full breasted women, which is by no means inherently masculine/feminine or heterosexual/queer in terms of enjoyment. Placed back into the larger white-supremacist and patriarchal society that produced such imaged of beauty should be acknowledged for its influence. Admittedly, I enjoyed both scenes, the subtlety of the first encounter between Corky and Violet --which could easily be read as addressing the concerns I expressed about the scene in Corky's apartment-- where the actresses are fully clothed and the emphasizes is on the seduction, intimacy, and pleasure of Violet (which allows the second scene to serve as the [much appreciated] climax)