Both women were enjoying themselves, and even though Violet was the initiator, she was the one pleasuring Corky. Violet, the femme was concentrating on Corky â€śthe butch.â€? While Corky just kind of laid there. Neither character was on top of theother. They were both kind of beside each other; neither one being over-dominating. I feel like this scene wasnâ€™t exactly realistic because both characters had typical bodies of Hollywood stars and not of regular person. It was interesting to see how the traditional roles were reversed in the sense that Violet, the initiator and dominator, was the feminine one. If one were to watch the scene, where they are naked and you canâ€™t see the â€śbutchâ€? signifiers like the leather jacket, wife beater and boots and only look at the bodies, one would not be able to tell which person was the butch or the femme. I noticed how it seemed strange to me to see Violet cradling Corkyâ€™s head in a dominant way but her long, painted fingernails signified that she was the femme. This
scene was also different because, as Kessler discusses, a lack of a theme of phallocentrism (4). I cannot say for sure whether or not this scene is feminist. I think itâ€™s probably more realistic, and I found it interesting that they hired â€śSusie Bright, the self-proclaimed â€śsexpertâ€? and editor of the lesbian erotica magazine On Our Backsâ€? (Kessler, 4) to aid in the production of the film. One thing that I did notice and that Noble discusses is how Violetâ€™s character is still portrayed as that of the â€śfigure of powerful and potentially dangerous female sexuality (4), and this is similar to the portrayal of the lesbians in Fatal Attraction.