Based on a framework developed by the works of critical theorists Michel Foucault and Judith Butler, this article focuses on a reconceptualization of the relationship between representation on screen and the production of sexualities in order to examine the discourse around the film Baise Moi (Despentes and Trinh Thi, 2000). There have been criticisms about the film’s pornographic and violent elements as well as its “bad ending”, arguing that the film results in a reaffirmation of the patriarchal power practices. This article counterargues that such readings remain within the limited territory of seeking an ideal representation of femininity based on the gender/sex binary which Butler’s work has critiqued. The final section of the article aims to demonstrate how Baise Moi conveys a layered audio-visual organization that focuses on the attainability of different sexualities that are not conforming to the idea of universal sexuality through adopting a pornographic aesthetic that provides the means through which the film can overturn gender norms as well as hard-core porn’s idealism.

中文翻译：

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性别主体性和表征的一些问题：百色莫伊和硬核色情

本文基于批判理论家米歇尔·福柯和朱迪思·巴特勒的作品开发的框架，着重于重新概念化银幕上的再现与性欲生产之间的关系，以检验围绕电影《百色莫伊》（Despentes and Trinh）的话语。蒂，2000）。有人批评这部电影的色情和暴力元素以及“糟糕的结局”，认为这部电影再次肯定了父权制的实践。本文反驳说，这种解读仍然存在于基于巴特勒作品所批评的性别/性别二元论寻求女性气质的理想代表的有限领域内。