Ehrencoma Kerstin M.Atack Sexuality captured, sexuality on a line of flight: Tracey Emin’s „Top Spot“ Doro Wiese University of Amsterdam 0. Introduction

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I‘ve also made the film for the outsider, because I know when you‘re growing up, if you feel like you‘re on the outside of things, it’s very difficult. So, I want this film to actually relate to those people and to let those people, young people, know they‘re not on their own. There’s tonnes of us out there. I was, and I probably, even though I‘m forty-one now, I‘m still out there. I‘m still an outsider in some ways. When you‘re growing up, things can look really desperate and totally bleak. And I‘m here to tell you it doesn‘t have to be like that. You can turn things around. You can turn your experiences into something positive and that’s what I also hope the film gives to people, a positive outlook in the end. (Emin, 2004b, quoted in Hemingway 2006, 438)

4. Becoming-girl

[12] It would be short-sighted to reduce the girls‘ coming-of-age story to the violence to which they are exposed. They connect themselves in multiple ways with each other and to their environment – an environment that exists beyond their point of view, too, as the numerous images of seagulls, sunsets, beaches, as well as the Brit-pop love songs that dominate the soundtrack, suggest. In this way, the film establishes the girls‘ reality as non-coinciding with the violence to which they are exposed; it shows their surroundings and their interactions as beautiful and intensive; it shows moments of playfulness, self-forgetting, sharing: their surroundings and interactions establish multiple and diverging possibilities of becoming-girl.

[13] In one scene, for example, the girls are shown playing a personalized version of the game „twister“ at the beach. They fling a switchblade into the sand, call out the name of a team-mate who, in one step, has to get as close as possible to the switchblade-target.


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