One of the fundamental controversies around Carolee Schneemann’s experimental short film Fuses (1974) is its unique blending of filmic artistry with sexually explicit images that are typically associated with pornography. As B. Ruby Rich points out in their examination of Fuses, it is this sense of rescuing the film from a particular type of moral panic that she argues relegated the short film to the basement of obscurity: “Because Fuses uses a vocabulary of images shared by pornography, that whole Pandora’s box of moral-artistic fever has also come to plague the film” (Rich 27). In essence, the ...
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