City University of New York (CUNY) CUNY Academic Works Publications and Research Queens College 2017 On Variety: The Avant-Garde between Pornography and Narrative Kevin L. Ferguson CUNY Queens College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/qc_pubs/207 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact:
[email protected] On Variety: The Avant-Garde between Pornography and Narrative by KEVIN L. FERGUSON Abstract: This article analyzes Bette Gordon’s fi rst feature fi lm Variety (1983), reassess- ing how experimental novelist Kathy Acker’s contributions to the screenplay awkwardly positioned the fi lm within contemporary cultural debates over pornography and the fu- ture of avant-garde fi lmmaking. While centered on an erotic thriller narrative concerning a woman’s entrée into the scuzzy world of New York City porno theaters, Gordon and Acker also take up in the fi lm a series of three related representational problems for the 1980s: feminist approaches to pornography, narrative in an avant-garde tradition, and the role of speech and writing in fi lm. ntroduction: The Pleasure in Looking. Speaking recently about her fi rst fea- ture fi lm Variety (1983), director Bette Gordon called it “a story about cinema in a way because it’s about the pleasure in looking.”1 Centered on a woman who takes a job selling tickets at a seedy Times Square porno theater, Variety is certainly about the pleasures and dangers of the visual image, but Gordon’s com- Iment underemphasizes another crucial aspect of the fi lm: its talkativeness.