The document discusses how cannibalism has been used as a metaphor for male homosexual desire. It argues that portrayals of cannibalism in media frame it as a brutish and masculine act of murder and consumption without consent or negotiation. This mirrors how male hunger and appetite are portrayed in advertising as natural, spontaneous, and even sexually pleasurable. The use of cannibalism as a metaphor risks further stigmatizing and pathologizing male homosexual desire.
The document discusses how cannibalism has been used as a metaphor for male homosexual desire. It argues that portrayals of cannibalism in media frame it as a brutish and masculine act of murder and consumption without consent or negotiation. This mirrors how male hunger and appetite are portrayed in advertising as natural, spontaneous, and even sexually pleasurable. The use of cannibalism as a metaphor risks further stigmatizing and pathologizing male homosexual desire.
The document discusses how cannibalism has been used as a metaphor for male homosexual desire. It argues that portrayals of cannibalism in media frame it as a brutish and masculine act of murder and consumption without consent or negotiation. This mirrors how male hunger and appetite are portrayed in advertising as natural, spontaneous, and even sexually pleasurable. The use of cannibalism as a metaphor risks further stigmatizing and pathologizing male homosexual desire.
Do the affirmative without using the word cannibal or cannibalism to
rupture epistemological and ontological foundations and reveal our humanism as exceptionalism. Using cannibalism to create the affect of disgust reaffirms homosexual desire as undesirable.
Cannibalism is associated with male homosexual desire.
Ryan,
Chris, Bowling Green State University; Eating to Live, Living to Eat: Cannibalism and Sexual Appetite in Ravenous
Cannibalism is a particularly apt metaphor for male homosexual
desire, in particular, because of how it frames denial, desire, and the act of consumption. In Susan Bordos Unbearable Weight, she identifies the blatantly sexual coding of male hunger in advertising: In commercials that feature male eaters, the men are shown in a state of wild, sensual transport Their total lack of control is portrayed as appropriate, even adorable. As male hunger is framed in commercials as a means of deriving sexual pleasure and an act of sexual pleasure in and of itself, so too is male hunger presented within the context of the fulfillment of cannibalistic hunger in Ravenous; there are no female cannibals in the film. Rather than simply partaking of the small and measured sips of the vampire, lapping at puncture wounds on the neck or wrist, cannibals take large, meaty bites out of their victims. They cook them in hearty stews or gnaw meat right off the bone. There is no demurring consent here; any act of cannibalism is an act of murder and devouring. Never does the cannibal negotiate a little nibble with his victims. This, too, is a way in which the hunger of cannibalism is made to be more brutish and masculine than the thirst of the vampire. Rather than acquiring sustenance through seduction or bargaining, the cannibal must hunt and kill his prey each and every time. Yet the film is surprisingly supportive of this necessity, echoing Bordo yet again. She says: The use of a male figure is one strategy, in contemporary ads, for representing compulsive eating as natural and even lovable. Men are supposed to have hearty, even voracious, appetites. It is a mark of a man to eat spontaneously and expansively