Queer Cinema Research Papers - Academia.edu (original) (raw)

Through the theoretical framework of queer phenomenology and monster theory, this scholarly comic presents an analysis of the unauthorised, Turkish remake of E.T., titled Homoti (1987), featuring a gay alien as its main character. Being one of the three Turkish films made in the 1980s dealing with gay themes, Homoti emerges as a metaphor for the oppression of LGBT communities in Turkey by a patriarchal, military, nationalistic regime in the 1980s. Published in the online journal Sequentials. https://www.sequentialsjournal.net/issues/issue2/yalcinkaya.html

- by Can Yalcinkaya
- •
- Sociology, Queer Theory, Turkish Cinema, Comics

From its inception, depiction of sexuality on screen outside of heteronormative behavior has consistently been met with censorship by the state and negative criticism from the media. Yet, beginning with mid 1960s and spanning latter decades, Turkish filmmakers have become far more open and daring in their depiction of the gay and lesbian relationships. It is the aim of this essay to outline a history of LGBT representations in Turkish cinema over the last fifty years, depictions progressing from lesbian to transsexual and finally to homosexual males during the period, 1962 to the present.

- by Murat Akser
- •
- Queer Studies, Film Studies, Queer Theory, Turkish Cinema

Proposing a radical vision of cinema's queer globalism, Karl Schoonover and Rosalind Galt explore how queer filmmaking intersects with international sexual cultures, geopolitics, and aesthetics to disrupt dominant modes of world making. Whether in its exploration of queer cinematic temporality, the paradox of the queer popular, or the deviant ecologies of the queer pastoral, Schoonover and Galt reimagine the scope of queer film studies. The authors move beyond the gay art cinema canon to consider a broad range of films from Chinese lesbian drama and Swedish genderqueer documentary to Bangladeshi melodrama and Bolivian activist video. Schoonover and Galt make a case for the centrality of queerness in cinema and trace how queer cinema circulates around the globe–institutionally via film festivals, online consumption, and human rights campaigns, but also affectively in the production of a queer sensorium. In this account, cinema creates a uniquely potent mode of queer worldliness, one that disrupts normative ways of being in the world and forges revised modes of belonging.

- by Karl Schoonover
- •
- Queer Studies, Film Studies, Film Theory, Queer Theory
- by Gary Needham
- •
- Film Studies, Queer Theory, Film Genre, Westerns

Paper presented at Concordia University, Feminist Media Studio, April 4 2019

- by Bobby Benedicto
- •
- Queer Studies, Queer Theory, Georges Bataille, Queer Cinema
- by Marc Arthur
- •
- Queer Studies, Performing Arts, Theatre Studies, Performance Studies

Trazemos neste artigo discussão sobre a película tailandesa The Iron Ladies, que mostrou em sua história o caso real de uma equipe que na década de 1990 disputou a liga nacional de voleibol masculino na Tailândia, composto por atletas com performatizações de gênero não
normativas, que designamos no texto como masculinidades queer. Para tal, nos utilizamos dos estudos queer e operacionalizamos análise fílmica pela metodologia pós-estruturalista etnografia de tela. Reconhecemos que o longa-metragem tailandês problematizou importantes deslocamentos de sentidos sobre o masculino no esporte, através da performatização queer dos jogadores de voleibol, ponto principal da película que se utilizou de deboche e ironia como
alavanca para a ruptura.

- by Leandro Teofilo de Brito
- •
- Gender Studies, Queer Studies, Masculinity Studies, Queer Theory

RESUMO O Presente artigo refere-se à construção imagetico-midiática e simbólica das identidades de gênero dissidentes. Partimos de 65 filmes selecionados ao longo de 5 anos, fazendo em seguida um recorte, a partir dos personagens de cada longa metragem, chegando a dois filmes que serão analisados no presente artigo. Baseando-nos em conceitos de gênero em construção de Butler (2010) e Young (2004) bem como no de projeção-identificação de Edgar Morin (1970), pretende-se ressaltar características recorrentes nos personagens. A hipótese é de que a construção de personagens gays, lésbicas, bissexuais e transexuais comumente encontrada nesses filmes versa constantemente sobre temas como drogas, criminalidade, homicídio, doenças, violência física sexual bem como uma hiperssexualização dos corpos e práticas. É como se tais existências, quando narradas, fossem existências de risco, sempre em perigo, e como se essa condição de risco fosse inerente a tais identidades sexuais. Elucubra-se ainda que tal recorrência transfigure-se em um dispositivo de condicionamento e controle sobre o lugar e o papel dos sujeitos LGBTI, mantendo essa parcela da população em um eterno ciclo de exclusão. Entre os objetivos do presente trabalho estão: apontar os aspectos componentes da construção simbólica do gênero que podem interferir na identidade de gênero individual; identificar nos personagens dessas narrativas tais características e ressaltar as recorrentes; estabelecer uma conexão entre a construção simbólica dos personagens analisados e algumas práticas sexuais das identidades de gênero dissidentes; rever essas narrativas recorrentes e vislumbrar possíveis alternativas. Além da revisão bibliográfica, foram feitas as análises dos filmes selecionados com foco nos personagens. Dessa forma, acredita-se que foi possível refletir sobre a influência que esse tipo de produto tem sobre a construção do imaginário a respeito das identidades sexuais dissidentes e aproximar-se de novos caminhos que contribuam para a visibilidade e a participação efetiva das comunidades LGBTI nos processos políticos culturais e sociais.

- by Ane Molina (she/they)
- •
- Queer Studies, Queer Theory, LGBT Issues, Masculinity

This is the article that first theorised the ‘post-heritage film’, coined it as a new concept, and sketched its characteristics. It presents a dialectical argument in which I propose that some of the British ‘heritage films’ of the 1980s were, in fact, more progressive in their sexual and gender politics than some of the (more formally self-conscious) 1990s ‘post-heritage’ films, whose various strategies enact a conscious distanciation from the ‘heritage film’.

- by Claire Monk
- •
- Cultural Heritage, Gender and Sexuality, Film Adaptation, Virginia Woolf

Visibles, pero al mismo tiempo, invisibles: esa paradójica condición ha marcado –y continúa marcando– la existencia de las personas trans. La reconstrucción de posibles genealogías tropieza, en consecuencia, con un cierto vacío en materia de representaciones, más si se trata de relatos en primera persona, no mediados por un “otro” ajeno a la realidad social y sexual de travestis, transexuales y transgéneros.
El presente volumen apunta, por consiguiente, a ofrecer una mirada interdisciplinaria sobre el universo trans en Argentina y en España desde la década de 1960 hasta principios de este milenio. Se trata de contribuir al rescate y recuperación de voces y experiencias, tanto por medio del análisis textual y sociológico o la reconstrucción historiográfica, como de testimonios que alumbren, en primera persona, los diversos itinerarios del travestismo, la transexualidad y el transgenerismo. Los testimonios interrelacionan voces como las de Camila Sosa Villada, Kim Pérez, Naty Menstrual, Lohana Berkins, Eduardo Mendicutti y Pietro Salemme. Los artículos pertenecen a investigadorxs argentinxs y españolxs de diversas generaciones: María Soledad Cutuli, Jaime de la Calle, Óscar Guasch, Santiago Joaquín Insausti, Jordi Mas, Alejandro Melero, Adrián Melo, Rafael M. Mérida, Alejandro Modarelli, José Antonio Nieto, Cristina Ornielli, Jorge Luis Peralta, Raquel (Lucas) Platero Méndez y Majo Torres.

- by Jorge Luis Peralta and +1
- •
- Gender Studies, Queer Studies, Transgender Studies, Gender and Sexuality
- by Elisa Padilla
- •
- Queer Cinema, Cult Cinema, Drag Queens, John Waters
- by Philipp Hanke
- •
- Gender Studies, Film Studies, Film Theory, Queer Theory
- by Maria San Filippo
- •
- Queer Studies, Television Studies, Gay And Lesbian Studies, Bisexuality

This article explores the enthusiastic reception by gay, lesbian, and mainstream audiences of a German Holocaust document, Erica Fischer’s Aimée & Jaguar: A Love Story, Berlin 1943 (1994), in the context of the emergence of increasingly global gay and lesbian movements in the 1990s. Aimée & Jaguar invited collective identification as victims by tapping into the contemporary gay/lesbian discourse that used the Holocaust as a metaphor for the plight of homosexuals, further resonating with a series of AIDS dramas from the era that did the same. The text’s reception and selective (dis)identification by Fischer and audiences alike raise questions about the ownership and appropriation of Holocaust memory as well as about the impact of globalizing social movements and mass media on post-Holocaust identity politics.

"Questo volume esamina alcuni momenti chiave della storia del cinema e della televisione italiana, svelando alcune delle norme che danno forma a un immaginario collettivo e a delle categorie di identificazione per il grande pubblico. Il... more

- by Michela Baldo
- •
- Italian Cinema, Queer Cinema

Texto que acompaña la sesión dedicada a los materiales de Iván Zulueta en la EOC recuperados y restaurados por Filmoteca Española dentro de la iniciativa #DoréEnCasa. Los cortometrajes de Zulueta, 'Ida y vuelta' y 'Ágata', están disponibles en https://vimeo.com/415839673 del 8 al 12 de mayo de 2020.
La hoja de sala recoge también el texto "¡POP PAN POE! Reflexiones en torno al cine de Iván Zulueta", escrito para la ocasión por el cineasta Andrés Duque.

- by Miguel Fernández Labayen
- •
- Spanish Cinema, Experimental Cinema, Queer Cinema, Film Education

Esse artigo, de caráter especulativo, ensaia uma aproximação entre as noções de política da imagem, formulada por Jacques Rancière, e prática reparadora, de Eve Sedgwick. Defendemos que a política da imagem, ao liberar-se da dimensão da denúncia e do conteúdo prescritivo orientado para causar indignação no espectador, pode ser qualificada como uma prática reparadora. O trabalho apresenta dois movimentos: o primeiro busca estabelecer relações entre o que Sedgwick considera uma postura paranoica assentada na "hermenêutica da suspeita" e o regime representativo da imagem descrito por Rancière. Em seguida, explora a proposição da política da imagem como prática reparadora refletindo sobre os modos como a imagem pode estar aberta à indeterminação, ao dissenso e a formas outras de organização do visível, do audível e do dizível. Como desdobramento desses dois movimentos, é apresentada uma análise breve do filme Os últimos românticos do mundo (Henrique Arruda, 2020), obra queer que produz um gesto de reparação concedendo prazeres visuais e produzindo uma rasgadura provisória no que tradicionalmente se concebeu como imagem política.

- by Dieison Marconi
- •
- Jacques Rancière, Queer Cinema, Eve Kosofsky Sedgwick, Cinema Studies

This article explores Stephen Daldry's The Hours (US/UK, 2002) as a feminist and queer meditation on the dilemma of marriage. An important queer-authored crossover film in the tradition of the family melodrama and the woman's film, The Hours offers a considered return to the iconic cultural form of the white middle-class nuclear family in a context where norms of heterosexual family and conjugal life are at once firmly entrenched and widely contested. Largely overlooked in film criticism, The Hours is characterized by its baroque and generative temporality and intertextuality that contribute to a nuanced meditation on women's experience of conjugal and family life. While much of the literature on melodrama draws on psychoanalysis and theories of spatiality, this article develops three distinct yet interrelated temporal and affective readings: Mikhail Bakhtin's dialogism and Virginia Woolf's modernist “moment of being”; the performativity of gender and kinship (Judith Butler, Eve Kosofsky Sedgwick); and theories of queer time and affect (Judith Halberstam, Elizabeth Freeman, Lauren Berlant). These readings probe The Hours's return to mediated cultural ideals of white conjugal and family life across time through the prism of feminist and queer cultural production and critique. Daldry's film is treated as a dense and fascinating work in itself, but it is also read against a small but influential cycle of recent queer-authored melodramas: Far from Heaven (dir. Todd Haynes, US, 2002), Savage Grace (dir. Tom Kalin, Spain/US/France, 2007), and A Single Man (dir. Tom Ford, US, 2009). Released at a historical conjuncture when queer debates about marriage and conjugal life are deeply polarized, these works share an ambivalent and stylized fascination with the white bourgeois family melodrama that is at once problematic and generative. I situate the film at the crossroads of two complementary and sometimes contradictory genealogies: the “thinking woman's film,” engaged with female subjectivity and authorship belonging to an influential white liberal feminist genealogy, and the genealogy of queer, white male – authored melodrama.

- by Julianne Pidduck
- •
- Queer Theory, Melodrama, Feminist Film Studies, Queer Cinema

This article proposes a comparison between Francis Lee's God's Own Country (UK, 2017) and Peter Sheridan's Borstal Boy (Ireland, 2000) to examine the role that masculinities and sexual desire play in the construction, (re)configuration and (re)affirmation of nation-ness. These films depict bodies and their sensations as being able to break down and reshape a strict and embodied notion of nation-hood strongly tied by patriarchal norms. However, they also rely on rigid representations of masculinities and do not attempt to dissolve nation-ness as a corporeal entity, but to reshape it and re-install it as a valid form of existence. Notions by Elaine Scarry's The Body in Pain and Jasbir Puar's Terrorist Assemblages provide the theoretical approach to observe possible changes and continuities regarding the domestication of male bodies in twenty-first-century Irish and British cinema.

- by Guillermo Severiche
- •
- Nationhood, The Body, British Cinema (Film Studies), Queer Cinema

La ricerca di sé stessi e della propria identità, sia per quanto riguarda il piano fisico che per quanto riguarda il piano mentale, è sempre stata uno dei temi cardine di ogni forma narrativa.
Attraverso concetti come "Cross - dressing" e "Psycho - trans" analizzeremo brevemente il rapporto tra il corpo in transizione e il cinema, con le ovvie ricadute sociali che comporta.

- by Sara Picello
- •
- Gender Studies, Queer Studies, Translation Studies, Gender

I´ve tried to make a genealogy of Appadurai´s transcultural landscapes including a Latin American perspective from Silviano Santiago´s inbetween space, Canclini´s interculturality among others so that I could read Wong Kar Wai´s Happy... more

- by Denilson Lopes
- •
- Comparative Literature, Queer Studies, Soundscape Studies, New Queer Cinema

A comparative analysis of sexual contact involving transexual characters.

- by Brandon Arroyo
- •
- Textual Criticism, Gay And Lesbian Studies, Queer Cinema, Transexuality
- by Richard Allen
- •
- Queer Studies, Women's Studies, Film Studies, Adaptation

Ever since the publication of Laura Mulvey´s "Visual Pleasure and Narrative Cinema" (1975) very few concepts have been as widely contested by feminist scholars as the idea of the patriarchal gaze. Mulvey's thesis was that women on screen are the object of the male gaze, an idea supported by traditional psychoanalytic binarisms that associate man with subjective, active desire and woman with passive lack, negating the possibility of female desire and spectatorship as such. According to both Mulvey and Mary Ann Doane (1982), the “over-proximity” of the woman to her own image negates the distance required for the voyeuristic and fetishist pleasures found in cinema. However, this account of the scopophilic gaze does not consider the position of the quintessential desiring female subject: the lesbian, that “privileged site of enquiry” for feminist film theory that is both subject and object of desire. It was not until 1991 that Teresa de Lauretis started to locate the coordinates for this desiring (lesbian) subject within film studies beyond the traditional opposition object/subject. In her essay “Film and the Visible,” based on Sheila McLaughlin ́s "She Must Be Seeing Things" (1987), she draws on Jean Laplanche and Bertrand Pontalis ́ notion of fantasy as a setting of desire in order to describe how the lesbian spectator might find pleasure adopting any of the roles available in the cinematic fantasy, “looking on, outside the fantasy scenario and nonethe-less involved.” (1991, p.96). With these ideas in mind, I will argue whether "Blue is the Warmest Color" (Abdellatif Kechiche, 2013) constitutes a mise-en-scène of lesbian fantasy, or whether it imposes a privileged voyeurism in consonance with Mulvey ́s account of the dominant male gaze, becoming a text contaminated by the director ́s own fantasies of lesbian sex, a “commercial”, aestheticized portrait of lesbianism fitting into what Monique Wittig called “the straight mind” (1992).

- by Lucia Gloria Vázquez Rodríguez
- •
- French Cinema, Feminist Film Studies, Queer Cinema, Lesbian Film

In Gregg Araki's film Mysterious Skin, the two protagonists Neil McCormick and Brian lackey share an experience of sexual abuse occurring in their childhood. Although a childhood experience, its formative nature creates profound repercussions in the progression of their lives which, although divergent in character, maintain this formative moment in common. Through principal themes of the skin, the face, existential gravity, and the phantasm we examine the relation between the abuse and the parallel biographies of its subjects. Presenting different affective investments, the case of Neil uncovers an understanding of the event which will be complicated through the question of pleasure, while the story of Brian, with its metaphor of alien abduction considers the abuse from the perspective of an equally precarious representation. The film suggests that the character of the lives of the two boys is a product of this experience of pedophilia and that they are driven to revisit and re-evaluate its significance, as a figure that entraps them and complicates their transition into adult life. (MCCULLOCH, 2008).

- by Maycon Lopes and +1
- •
- Media and Cultural Studies, Film Studies, Queer Theory, Film Analysis
- by Marc Siegel
- •
- Queer Studies, Globalization, Film Studies, Hong Kong Cinema

Chapter included in Ronald Gregg and Amy Villarejo, eds. The Oxford Handbook of Queer Cinema

- by William J Simmons
- •
- Queer Studies, Transgender Studies, Queer Theory, Video Art
- by Iakovos Panagopoulos
- •
- New Queer Cinema, Queer Cinema

Im folgenden Überblick zu Queer Cinema Studies möchte ich nicht nur über Filme, ihre Inhalte und ihre Analyse mithilfe filmtheoretischer Begriffe sprechen, sondern auch auf die für Queer Cinema (Studies) relevanten Produktions-und Rezeptionskontexte eingehen. Zunächst lege ich jedoch mein Verständnis des Begriffs queer dar und gebe einen Überblick über verschiedene Definitionsansätze von Queer Cinema.

- by Skadi Loist
- •
- Film Studies, New Queer Cinema, Queer Cinema, Queer Film Festivals
- by Leo Name
- •
- Urban Geography, Gender Studies, Queer Studies, Media Studies
- by William J Simmons
- •
- Queer Studies, Avant-Garde Cinema, Film Studies, Film Theory

The present article refers to the media-image and symbolic construction of
dissenting gender identities. Starting with sixty-five movies chosen along five years. Subsequently, a selection was made from each movie’s characters, finally leading to two movies, which will be analyzed in this article. Based on the concepts of social construction of gender presented by Butler and Young, as well as Edgar Morin’s projection-identification, this article intends to identify recurrent characteristics among the selected characters. The hypothesis is that the social construction of gay, lesbian, bisexual and transsexual characters, commonly seen in these movies, frequently presents themes such as drugs, crime, homicide, diseases and sexual violence, as well as the hyper-sexualization of both bodies and practices. It is as if such individuals, when represented, were high-risk existences, always in danger, and as if this condition of risk was inherent to such sexual identities. It is possible that such recurrence is transformed into a device, used for conditioning and controlling the place and role of LGBTQIA+ individuals, keeping this part of the population on an eternal
exclusion cycle. Among the objectives of this article are: to indicate the
component aspects of the symbolic construction of gender that can interfere in individual gender identity; to identify on the characters of those narratives such characteristics and highlight the recurrent ones; to establish a connection between the symbolic construction of the analyzed characters and some of the sexual practices of the dissenting sexual identities; to review these recurrent narratives and envision possible alternatives. In addition to the bibliographic review, the selected movies were analyzed with a focus on the characters. Therefore, it was possible to examine the influence that this kind of product has over the construction of the collective imaginary regarding dissenting sexual identities and to approach new paths that contribute to the visibility and the effective participation of LGBT communities on the cultural and social-political processes.

- by Ane Molina (she/they)
- •
- Gender Studies, Queer Studies, Queer Theory, New Queer Cinema
- by Skadi Loist
- •
- Media Activism, Economics of Film Festivals, Film Festival Studies, Queer Cinema

Keynote presentation, Beyond Boundaries Conference, Carleton University, February 27-28, 2020 To look at the night, Georges Bataille reminds us, is to see, as an object, that which means one cannot see. The space/time where vision fails,... more

- by Bobby Benedicto
- •
- Psychoanalysis, Queer Theory, Sigmund Freud, Georges Bataille
- by Skadi Loist
- •
- Globalization, Film Festival Studies, Queer Cinema, Film Festivals
- by Skadi Loist
- •
- Genre studies, Film Genre, New Queer Cinema, Queer Cinema
- by Julia Leyda
- •
- Queer Studies, Avant-Garde Cinema, Feminist Theory, Film Theory and Practice

In recent years, there has been much scholarly discussion of the internationalisation of Japanese popular culture. In this presentation, I draw upon the emerging discipline of Boys Love Studies to explore the influence of Boys Love (BL), a genre of homoerotic media produced in Japan for predominantly heterosexual female audiences, on the production of two Thai lakorn (dramas); Hormones Wai Wa Wun and Lovesick The Series. Employing the theory of glocalisation as developed by Iwabuchi (2002), I discuss how the generic conventions of BL are adapted to lakorn and investigate how Thai understandings of gay desire and identity are juxtaposed with those expressed in BL. I argue that the conservative nature of Thai media, where expressions of sexuality that deviate from heterosexual norms are often explicitly censored by television networks, leads both Hormones and Lovesick to adopt certain narrative structures that reinforce the normality of heterosexual relationships. In particular, I investigate how the image of the kathoey (transvestite homosexual male) is utilised within both Hormones and Lovesick to construct the principal gay couples as “straight acting.” I conclude with a brief survey of fan reactions to the perceived lack of “authentic BL tropes” in Lovesick and reflect on the increasingly international character of BL fandom amongst both heterosexual women and gay men.

- by Thomas Baudinette
- •
- Asian Studies, Japanese Studies, Queer Studies, Media Studies