A few thoughts on Abjection and Last Tango in Paris

I went for a walk round a nearby loch this afternoon; it was cold and clear and the trees were beautiful after two nights of frost, so I was hoping to take some photos of the reflections in the still water.
But my camera wouldn't work. It's OK - it does that occasionally. Then I thought I might take a photo on my phone, but the battery was flat. Then I thought maybe it's just as well not to share. A beautiful afternoon goes deeper than memory - it goes into the soul and remains there as part of you even when you think you've forgotten all about it. A photograph can't begin to capture that.
Then, I saw two young hen pheasants at the roadside, dead. They'd been hit by a car, very recently. They hadn't been squashed, and there was no blood. The way they'd fallen, one had her head lying across the other's neck, in an attitude of complete abjection, eyes closed in submission to the inevitable. It reminded me of Holbein's Dead Christ. (see The Powers of Horror, by Julia Kristeva)
It cut me to the quick but it was easy to resist the crude impulse to shed a crass, bathetic tear. Those deaths were worth more than that.
I've been thinking about Julia Kristeva in another sense today. I was thinking about Maria Schneider, who starred in Bertolucci's Last Tango in Paris. She died earlier this year, aged 58. She was 19 when she starred in that film, and from then on it defined her. If you Google her, "butter scene" is almost top of the list. She is quoted as saying (this isn't word for word) "Never take your clothes off for shiny-eyed middle aged men, especially if they say it's for Art". I've seen that film half a dozen times. I had an obsession with Marlon Brando when I was in my twenties, and saw everything he'd been in as often as I could. I haven't seen Last Tango for maybe fifteen years; I remember thinking Brando's performance was extraordinary. However, there was definitely something about the subtext which unnerved me, which I couldn't quite articulate at the time. I wanted to like Brando, I really did, and my sympathy was with him rather than Schneider's callow film-making boyfriend, but there was something horribly repellent about him.
I now think of the film as an unpleasant exercise in sadism, but I'd be interested to watch it again in case I'm wrong. Bertolucci made an effort to redeem it through intellectualising a basically tawdry premise; Maria Schneider as the centre of his stereotypical shiny-eyed middle-aged fantasy of no-strings no-holds-barred sex with an easily malleable and disposable stranger. Schneider as plastic doll, in other words. Brando, an only slightly less shiny eyed middleager, was playing both sides - only he was worse than Bertolucci because of his duplicity and because I am sure that he knew better but was too jaded to care very much.
What has this to do with Julia Kristeva? I haven't time to explain! She refused to accept the label of "feminist", which is precisely why I like her work so much, but her analysis of the male gaze surpasses anything else I've read. No polemic, no rigid position-taking, and that has to be good.
More *at some point*