No where else in the world can you find the range of disciplines in one school. Over the last 50 years as we forged new programs, built our home in New York and expanded to our global academic centers, institutes emerged. Each are built with shared values, common goals, and a priority for putting students first. The result – a place where artists and scholars create the future.
Visiting students and non-majors are invited to take classes during January Term, Spring at Tisch, and Summer. Earn credits towards your major or minor, build your résumé with an internship, or take classes to change careers. Come be inspired by New York City and our international sites.
The Office of Special Programs at Tisch School of the Arts provides access to the arts. Whether you’re an NYU or visiting college student, high school student or working professional, we provide you with the introductory exposure to the performing or cinematic arts and the advanced-level training to grow your craft.
Wednesday, February 17
Michelson Theater, Department of Cinema Studies
721 Broadway, 6th Floor
This paper explores how nature and gender were spatialized in nudist films of the 1950s and 60s such as Garden of Eden (Max Nosseck, 1954), Naked Venus (Edgar G. Ulmer, 1958), and Diary of a Nudist (Doris Wishman, 1961). These films were legally protected by a claim of “educational value,” and their slight narratives disavow sexual activity in favor of presentations of the naked human body as an embodiment of a “natural” and “healthy” lifestyle. Embodying a relentless male gaze, the films contain long sequences in which topless women walk around, swim, and play volleyball. By focusing on the spatialization of nature that surrounds these naked bodies, I argue that these films actually produce heterotopic spaces in which female bodies and the feminine are “at home” in the refuge of nature. Through “tour of the camp” sequences, the films chart an itinerary in which the nudist camp becomes a utopian space located in the wilderness. Overturning the usual cinematic relationship between characters and setting, in nudist films landscape and figure participate in a more equal exchange. While the nudist film vision certainly essentializes femininity, it can also be connected to countercultural ideologies of naturism, environmentalism, and the back-to-the-land movement that were becoming popularized in this era.
Jennifer Peterson is Associate Professor in the Film Studies Program at the University of Colorado Boulder. Her articles have been published in Cinema Journal, Camera Obscura, The Moving Image, the Getty Research Journal, and numerous edited book collections. Her book, Education in the School of Dreams: Travelogues and Early Nonfiction Film, was published by Duke University Press in 2013.
This event is free and open to the public. Seating is limited and is available first-come, first-served.