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Geografiska Annaler: Series B, Human Geography Volume 102, 2020 - Issue 4
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Original Articles

Public obscenity and the formation of emotional legal landscapes in Dries Verhoeven’s Ceci n’est pas … 

Päivi RannilaDepartment of Geography and Geology, University of Turku, TurkuFinlandCorrespondence[email protected]
ORCID Iconhttps://orcid.org/0000-0001-7911-2838View further author information
ORCID Icon &
Siiri PyykkönenDepartment of Geography and Geology, University of Turku, TurkuFinlandORCID Iconhttps://orcid.org/0000-0002-5228-3589View further author information
ORCID Icon
Pages 384-399 | Received 26 May 2020, Accepted 19 Nov 2020, Published online: 04 Dec 2020

Figures & data

Figure 1. Ceci n'est pas d’amour in Helsinki November 11, 2014 before the performance was interrupted by the police. Photo: Christopher Hewitt / Baltic Circle.

Figure 1. Ceci n'est pas d’amour in Helsinki November 11, 2014 before the performance was interrupted by the police. Photo: Christopher Hewitt / Baltic Circle.

Figure 2. The censored Ceci n'est pas mon corps in Helsinki November 16, 2014 after the police had prohibited the performance in its original form with the model being naked. Photo: Christopher Hewitt / Baltic Circle.

Figure 2. The censored Ceci n'est pas mon corps in Helsinki November 16, 2014 after the police had prohibited the performance in its original form with the model being naked. Photo: Christopher Hewitt / Baltic Circle.

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