Zavodljivost Vizuelnog – Eroticizam U Postmodernoj Fotografiji
Visual Seduction: Eroticism In Fashion Photography

Summary/Abstract: Baudrillard’s theory of seduction represents the basis for constituting postmodern iconography, i.e. the matrix for the production of images within the framework of visual culture. If we understand the media seduction in the post-Lacanian sense of acting, doing and behaving in the area of desire for the Other, that is in the area of subconcsiousness, then the reasons for creating visual contents as instruments for provoking human desires and fantasies are understandable. The game between subject and object of the gaze has lasted uninterruptedly in the epoch of images, even though certain interventions are necessary in the traditional definitions of the right to observe considering that in the visual contents in our surrounding sexual characteristics of both genders are being simultaneously manipulated. The manner in which the content of the fashion photography is being made makes it an instrument for production and mediation of certain meanings. The area of the subject of photography as an object of the spectator’s gaze is determined as an area of seduction, destiny, of being fatal… In that way, the purpose of eroticism in contemporary fashion photography is to seduce the audience, and in this way it only distances itself from its former/avant-garde functions of provoking the public. Each media presentation is based on a simulation of fetish presented as an object of both individual and group desire, and each visual use of a media image represents a fetish-like indulgence. Eroticism, sexuality and beauty of human body that in the post-modern-visual culture depict the symbols of fatal, cynical and parody-like seduction get irretrievably immersed into the totalizing mass culture. Has assimilation of the erotic and sexual into the field of popular culture, the trend of image production, lifted all the restrictions of censure and auto-censure in exhibiting their characteristics, or are the limits of good taste in visual representation of fashion still being respected?

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