Chan Nudist
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Chan Nudist
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Session ID: 2022-09-06:b9b973bef4b1fb1b5b94332b Player Element ID: player_BjcG84NzE63X1ugkUVoJQ96lsepKuNLR
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Naturism
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Naturism
Naturist beaches
1970s
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Country House offers naturists a way to air all.
News reporters Tony and Sally Adams visit a nudist centre at a country hotel in South Devon. The beach at Slapton Sands Nature Reserve and nearby Pilchard Cove have been frequented by nudist bathers for decades. Naturists advocate acceptance of social nudity and enjoy embracing the great outdoors through walking in the woods, relaxing on the beach, swimming in the pool and nude sea bathing. Locals turn a blindish eye and maintain that there is nothing wrong with nudism.
In 1970 International Naturist Federation held its annual congress in Britain. The first annual naturist world congress was held in London in 1951 although the International Naturist Federation (INF) was officially founded in 1953 in Montalivet in France. British Naturism can trace its origins back to 1891 and the Fellowship for the Naked Trust in British India. In 1922 the English Gymnosophical Society was formed based on the work into naturism of Harold Booth. The British Sun Bathers Association (BSBA) of 1943 and the Federation of British Sun Clubs (FBSC) of 1953 merged to form the Central Council for British Naturism (CCBN) in 1964 which officially became British Naturism in 2009.
Amateur film 1966 18 mins Silent
Location: Derby
Nostalgic snapshot of the town of Derby in the mid 1960s.
Amateur film 1964 12 mins
Location: Pontarddulais
“It would be difficult to find a more lovely train journey”, declares Swansea’s Librarian, the film-maker and narrator. Prepare to be beguiled, station by station.
Non-Fiction 1976 23 mins Silent
Location: Leeds
Back to the bad old days of skinners, as worn by these Man. United troublemakers, being escorted by police dogs along that perilous walk from Elland Road to Leeds railway station.
Amateur film 1976 9 mins
Location: Kingston Upon Thames
An amatuer filmmaker takes a critical and somewhat tongue-in-cheek look at the changing face of Kingston upon Thames
We Do What We Can is a film that looks at one of the miracles in the journey of diaspora Africans.
Documentary 2021 13 mins
A poetic response to the experience of the Coronavirus pandemic, drawing on the collections of 12 UK film archives.
Current affairs 1977 13 mins
Location: Bath
A special report looks into the preparations for the Queen’s Silver Jubilee and her subsequent tour of the South West.
Non-Fiction 1935 3 mins
Location: Devon
Talented women become mistresses of the skies.
Advert 1967 2 mins
Location: Devon
Mrs Cross takes the Daz test but what will the outcome be?
News 1986 52 mins
Location: Plymouth
This documentary charts the progress and challenges of disabled people living in the community.
News 1976 45 mins
Location: Plymouth
The TV cameras return to Downham School to see what has changed for disabled children since 1966.
News 1963 1 mins
Location: Devon
Responses to questions about dressing to please are of their day.
Animation & Artists Moving Image 1993 18 mins
A saxophonist assembles her instrument while a woman eats oysters and removes tidal debris from her body in artist Jayne Parker's short film.
Comedy 1919 67 mins Silent
A single girl, goaded by her fellow boarding-house residents, pretends to be engaged to a charming officer.
Industry sponsored film 1954 37 mins
A promotional film documenting the design, assembly and maintenance of a conveyor system in a West Yorkshire coal mine.
Comedy 1922 39 mins Silent
The story of a young man's embarrassing encounter with a young lady's woollen undergarment at the theatre.
Comedy 1924 30 mins
Delightful adaptation of a sailor’s yarn starring the irrepressible Florence Turner and pre-John Ford Victor McLaglen, with novel illustrated inter-titles.
Arkita believes herself to be be modern, liberal and independent. An unprecedented encounter with a transgender sex worker questions her beliefs.
The South West Film and Television Archive (SWFTA) is the regional film archive for the South West of England. Established in 1993, SWFTA's core collection comprises of the combined programme libraries of Westward Television and TSW (Television South West). The archive also cares for a significant number of donated film collections, both amateur and professional, dating back to the early 1900s.
© 2022 British Film Institute. All rights reserved. Registered charity 287780
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Yushi Li, The Feast, 2020, image courtesy Yushi Li
“The male nude is by leaps and bounds way less exoticized than the female nude in art, and in all forms of media”, the photographer Dana Scruggs tells me. Her recently released photo series The Black Male Form sees Scruggs — known for shooting high profile celebrity magazine cover stories — vow to use the male body as an object, in the same way many male artists have done with the female body throughout art history. “Seeing the female body nude is extremely commonplace”, Scruggs elaborates, “there’s literally been countless advertisements of naked women on billboards and in magazines, and actresses are constantly expected to show full frontal nudity on screen.”. It’s a lack of parity that Scruggs wants to subvert, “the male nude has been marginalized because there’s never been a dude with his penis out on the side of a bus”, she says, “only now are we starting to see male actors going full frontal in TV and film on a more consistent basis.”.
Dana Scruggs, Rōze En La Playa (2016)
Becoming more radical as her career progresses – in January Scruggs took to Instagram resolving to “just do what I want. If you like it great, if you don’t, that’s okay too” – her next step involves moving the needle on the use of the male nude in art. The last century of visual culture has seen the female body become a passive creative object used to benefit advertising, art, commerce and pornography, largely by and for men. Her photo series Roze en la Playa on show at New York’s Fotografiska Nude exhibition illustrates how Scruggs is committed to addressing the inequality of male and female nudes in art. The show opened a week after Scruggs posted a mission statement on Instagram, where she revealed her ongoing project The Black Male Form . “The Black Male Form is a phrase I’ve used most of my career to describe my work”, she wrote, “Unfortunately I rarely get hired to shoot men. It feels good to go back to my roots to push even further than I have before.”.
This lens on the male nude is a political one for Scruggs. “This is a patriarchal society that has been dominated by men having the power to desenstize the public to the female nude while intentionally making the public highly sensitive to viewing male genitalia” she tells me, when I ask about her image Roze en la Playa , which sees the chef and model Roze Traore laying in a pose reminiscent of Ingre’s Grande Odalisque painting on a sandy beach. Scruggs cleverly highlights the knock-on effect of a visual culture permeated with passive female nudes, but far fewer of men.
Since the artist group Guerilla Girls famously revealed in 1989 that 5% of the artists in US modern art collections are women, but 85 percent of the nudes are female, little has changed. In 2018, a National Museum of Women in the Arts survey of American museums found that 87 percent of the collections were by men. “When I go to museums, I see way more breasts and vaginas on display than I see penises”, Scruggs explains, “the double standard of vulnerability is very easy to see.”. This double standard has created a culture where the female nude image is traded in a way mens’ is not — in 2018 Exeter University found that nearly 3 in 4 victims of revenge porn are women.
Yushi Li, Ben, (2017), image courtesy Yushi Li
“The male nude was the ideal and principal subject in art in ancient Greece and early renaissance art” says photographer Yushi Li , who appears in the exhibition Nude alongside Scruggs. However, she explains, “since the early 19th century, the female nude started becoming the most prevalent subject in art. Unlike the male nude, which is often perceived as an autonomous subject, the female nude is normally presented in a passive way. I think in my work, I try to present men in a different way to question this masculine and feminine opposition, and cast the gaze onto the male body, which can be equally eroticized and desired as the female body.”. Over the last year, much has been made over male nudity becoming slightly more commonplace in popular culture – in the Sex and the City reboot And Just Like That, Harry’s full front scene went viral, Sex Life 's Adam Demo’s nude scene was much talked about, and even the cover of Julia Peyton’s novel Vladimir shows a naked man. But as Li notes, these acts of nudity have far more autonomy that women’s do – we still need more parity.
Li’s photographic profiles such as Tinder Boys and The Feast , present the male body as a passive prop to her art. An image from The Feast depicts Li fully clothed with naked men used as props for furniture. “In the project My Tinder Boys , I photographed different men I met through the online dating application Tinder. I look at them, I ‘like’ them, I make them become images of mine. The repetition of the process and similar settings in this series of photographs turns these men into undifferentiated and replaceable objects of my desire.”
Yushi Li, The Nightmare, image courtesy Yushi Li
Li’s image The Nightmare is strikingly similar to Allen Jones’s 1969 sculpture Table, in which a female mannequin is bent over and used as a seat – a pointed reference to the casual use of female bodies for the benefit of a male artist? “During these unusual dates” Li says, careful to note the nuance in her presentation of female objectification of men: “I am both the violator who tries to invade their private space and also the desiring object who participates in their vulnerability”. Carlota Ibanez of Efremedis Gallery in Berlin, says she’s seeing a new emerging market among collectors for art where the tropes of art owned by men historically “such as the nude which was until very recently largely authored by men for men”, are “subverted, such as women depicting men naked, not as the centrepiece of their art, but as passive objects.”.
Dana Scruggs, Rōze En La Playa, image courtesy Dana Scruggs
Like Yi, Scrugg’s ongoing series The Black Male Form sees her use the male body as the ideal prop for the perfect photograph. “I will usually give the model a random piece of direction like: pretend like you're a leaf on the wind or pretend like you’re a piece of spaghetti that’s been thrown against a wall”, she says, “how they interpret that direction is our jumping off point and we work together to make those movements look and feel organic and effortless.”. In many ways, this female lens on the male body is anti-social media, the algorithm-defined aesthetics of which have led to many photographers showing their work on Instagram that prioritises a beauty that fits into western standards – which is what the algorithm rewards.
Does Scruggs think the male nude is at risk of the same marginalisation that women have felt for over half a century? “The root of my work is portraying the masculinity and vulnerability of the Black male form. I enjoy photographing women, but the opposite energy of men is what inspires me the most”, she says. She describes her work before revealing The Black Male Body series as something she did for career progression, feeling that she to “had to check boxes of wokeness and black pain”, a sentiment she shared on Instagram last year. For now, a commitment to the male nude is her main objective. “It’s a voyeuristic fascination” she says — “a curiosity of the masculine.”.
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