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Recommended: Essay On Queer Theory
What constitutes a ‘good’ queer cinema? The question is as ambiguous as the idea of queer theory, which in its actuality is characterized to be “…nothing in particular to which it necessarily refers. It is an identity without a [defined] essence”. The combination of queer theory’s fluid nature and the rather touchy subject of queer history often make it difficult to draw black and white conclusions on what discerns an exceptional queer film from a mediocre one. Blue Is the Warmest Colour, based on a graphic novel by Julie Maroh and directed by Abdellatif Kechiche. closely examines the life of a female protagonist. A quiet schoolgirl with an appreciation for literature, Adèle briefly goes out with a boy whom admires her – partially in an effort to fit in with her group of peers who constantly talk about sex and boys. Finding herself sexually dissatisfied and emotionally heavyhearted, she feels lost until a momentary encounter with a blue haired girl is able to dominate her attention entirely. In the subsequent meetings she has with the girl, Emma, the two soon become intimately involved emotionally and sexually. They engage in a long-term relationship, until Adèle becomes an elementary teacher and Emma is a full-time artist. Feeling distant from Emma and her artistically enriched and intimidating associates, Adèle goes out and sleeps with one of her colleagues. When Emma finds out, the couple go through a savage breakup, leaving Adèle completely alone and grief-stricken. A couple of years later, Adèle is still very much in love with Emma, however Emma has moved on and is in another committed relationship. Sometime later, Adèle attends Emma’s art exhibit, but her hopelessly miserable feelings intensify as the reality of losing Emma ... ... middle of paper ... ...izes non-heteronormative lifestyle and sexual fluidity. Blue is an honest and unbiased depiction of a person experiencing love and multifaceted complications of life. Works Cited http://www.thefreedictionary.com/New+Wave+(disambiguation) http://www.independent.co.uk/arts-entertainment/films/blue-is-the-warmest-colour-more-than-the-sum-of-its-parts-8942640.html http://books.google.ca/books?id=o9ct-YPs66UC&pg=PA62&dq=nothing+in+particular+to+which+it+necessarily+refers.+It+is+an+identity+without+an+essence+saint+foucault&hl=en&sa=X&ei=uP4nU5SaLM7moAS5soHoDQ&ved=0CDEQ6AEwAA#v=onepage&q=nothing%20in%20particular%20to%20which%20it%20necessarily%20refers.%20It%20is%20an%20identity%20without%20an%20essence%20saint%20foucault&f=false http://go.galegroup.com.ezproxy.lib.ucalgary.ca/ps/i.do?action=interpret&id=GALE%7CA289359848&v=2.1&u=ucalgary&it=r&p=AONE&sw=w&authCount=1
In Visual Pleasure and Narrative Cinema, Mulvey states that, “Traditionally, the woman displayed has functioned on two levels: as erotic object for the characters within the screen story, and as erotic object for the spectator within the auditorium, with a shifting tension between the looks on either side of the screen.” (Mulvey 40). A woman’s role in the narrative is bound to her sexuality or the way she
The tragicomic Fun Home, by Alison Bechdel, is generally considered one of the most important pieces of the modern LGBTQ canon of literature. The graphic novel tells the story of Alison Bechdel’s attempt to find the truth about her father’s sexuality and what lead him to possibly commit suicide. Along the way, Bechdel finds her own sexuality. Bechdel’s choice to write about her and her father’s simultaneous journey to finding their sexuality was revolutionary at the time. Very few authors were writing openly about their own sexuality, and something even more revolutionary that Bechdel addressed was mental illness.
Led by Laura Mulvey, feminist film critics have discussed the difficulty presented to female spectators by the controlling male gaze and narrative generally found in mainstream film, creating for female spectators a position that forces them into limited choices: "bisexual" identification with active male characters; identification with the passive, often victimized, female characters; or on occasion, identification with a "masculinized" active female character, who is generally punished for her unhealthy behavior. Before discussing recent improvements, it is important to note that a group of Classic Hollywood films regularly offered female spectators positive, female characters who were active in controlling narrative, gazing and desiring: the screwball comedy.
A large portion of contemporary film and theatre has been lacking in substance. More often than not, we are presented with a “been there, seen that” scenario. One such exception to this rule is Hedwig and the Angry Inch, a film by John Cameron Mitchell that was released in 2001. Set primarily in post-Cold War America, Hedwig is a film that characteristically breaks convention. Our story follows Hedwig, a forgotten and confused homo…trans…well, human being. Growing up in East Berlin during the Cold War, Hansel Schmidt (John Cameron Mitchell) lives what I would call a horrible childhood in the bleak landscape of communist occupied Germany. He falls in love with an American soldier, and undergoes a sex change in order to marry him and leave East Berlin. The operation is botched, leaving him/her as a physical contradiction. Not quite a man, but not yet a woman, Hansel (now Hedwig) has what she describes as an “angry inch.” When describing it in lighter terms, she calls it a “Barbie doll crotch.” Upon arriving in America, the soldier leaves her the same day the Berlin wall comes down. Destroyed, Hedwig spends some time discovering her new self and eventually finds a soul mate in a young boy named Tommy Speck (Michael Pitt). They collaborate musically and romantically, but upon discovering Hedwig’s secret he leaves with all of their music. He becomes a huge rock star, living Hedwig’s dream while simultaneously leaving her in the dust. From then on, Hedwig and her band “The Angry Inch” follow Tommy as he tours the nation while Hedwig tries desperately to gain the notoriety she deserves for her music. Viewing this film through the lens of a feminist gender perspective, I find that Hedwig is a pioneer on the forefront of changing the gende...
How Cinematic Identification is Used to Position the Spectator in Relation to Race, Gender, and Sexuality in Far From Heaven
Of all the 1980’s films, that can be described as “Eighties Teen Movies” (Thorburn, 1998) or “High School Movies” (Messner, 1998), those written and (with the exception of “Pretty In Pink” (1986) and “Some Kind of Wonderful”(1987)) directed by John Hughes were often seen to define the genre, even leading to the tag “John Hughes rites de passage movies” as a genre definition used in 1990s popular culture (such as in “Wayne’s World 2” (1994 dir. Stephen Surjik)). This term refers to the half dozen films made between 1984 and 1987; chronologically, “Sixteen Candles” (1984), “The Breakfast Club” (1985), “Weird Science” (1985), “Ferris Bueller's Day Off” (1986), “Pretty In Pink” (1986) and “Some Kind Of Wonderful” (1987) (the latter two being directed by Howard Deutch). For the purpose of this study, “Weird Science” and “Some Kind of Wonderful” shall be excluded; “Weird Science” since, unlike the other films, it is grounded in science fiction rather than reality and “Some Kind of Wonderful” as its characters are fractionally older and have lost the “innocence” key to the previous movies: as Bernstein states “the youthful naivete was missing and the diamond earring motif [a significant gift within the film] was no substitute” (Bernstein, 1997, p.89). Bernstein suggests that the decadent 1980s were like the 1950s, “an AIDS-free adventure playground with the promise of prosperity around every corner … our last age of innocence” (Bernstein, 1997, p.1). The films were very much a product of the time in terms of their production (“suddenly adolescent spending power dictated that Hollywood direct all its energies to fleshing out the fantasies of our friend, Mr. Dumb Horny 14 Year Old” Bernstein, 1997, p.4), their repetition (with the growth of video cassette recorders, cable and satellite with time to fill, and also the likes of MTV promoting the film’s soundtracks) and their ideologies.
Lars von Trier’s Nymphomaniac (2013) sparked controversy even before its stateside release during a matinee screening of Disney’s Frozen (Buck/Lee, 2013) in Tampa, Florida. The usual routine began as the projectionist prepared to screen the film: the lights of the cinema began to dim, the projection screen turned black, and the usual filler of cartoons and trailers started rolling. And then something unusual happened. According to one unsuspecting grandmother, “They put in the filler, it looked like Steamboat Willie, the old Mickey Mouse cartoon, and then all of a sudden it goes into this other scene” (Guardian, “Nymphomaniac Trailer”). This “other scene” was the red-band teaser for Nymphomaniac, described by Julie Miller of Vanity Fair as “the most graphic movie preview of all time—thanks in part to visuals of former child star Shia LaBeouf nude and engaged in multiple sexual activities” (Vanity Fair, “Explicit Sex Film”). Miller’s description of the trailer, however, is mostly incorrect. Very little do we see of LaBeouf’s character in the red-band trailer, neither “nude” nor engaged in the act of sex. Instead we catch various clips of Young Joe, performed by Stacy Martin, who is at one point seen fully nude and whose vagina is superimposed against the film’s title (stylized as NYMPH()MANIAC) at the start of the teaser. Despite his intentions in line with the Puzzy Power movement, von Trier’s male gaze complicates his presentation of female sexuality in Nymphomaniac. The logic behind the metanarrative of the film suggests that Joe’s (Charlotte Gainsbourg) salvation is ultimately afforded by male characters, most explicitly through Seligman (Stellan Skarsgård), Jerôme (Shia LaBeouf), and “K” (Jamie Bell). Although Nymphomaniac ask...
By dissecting the film, the director, Jennie Livingston's methodology and the audience's perceived response I believe we can easily ignore a different and more positive way of understanding the film despite the many flaws easy for feminist minds to criticize. This is in no way saying that these critiques are not valid, or that it is not beneficial to look at works of any form through the many and various feminist lenses.
The LGBTQ community has wanted to see same sex romances blossom on the screen for as long as film has been around, but overtime has come with some consequences. It has brought to light what people don’t want to talk about and has stereotyped all LGBTQ with the same wreck less, careless, and erotic lifestyles and behaviorisms. This is seen initially wit...
Like most popular gender-bending films, Some Like It Hot calls us to critique constructions of sexuality and gender both within the context of historicized moment of the films production and from the perspective of later generations. Every time the two men presented themselves as women several assumptions were made as to how women look, of their intelligence, and of how they act. This was the female image at the time; the high heels, the dress, and even the stereotypical “party girl” were all characteristics of the female. The film defines gender differences by portraying wo...
Simply put, Blue Girls is about beauty. The poem focuses on the realization and truthfulness that beauty undoubtedly fades. The speaker appeals to young girls, warning them to not put all their hope in their beauty, but to still utilize it before it diminishes.
Throughout various mediums, queer and gender portrayals are not shown in the best light. Majority of media show clear negative connotations of homosexuals and queens while constantly being a target of discrimination and ridicule. Though as time went on many writers decided to speak up and gain awareness for queer and gender biases by incorporating messages of societal discrimination in their plays. Much of their ideals were that of how sexual/gender identity portrayal, lifestyle stigma, and preconceived notions of the homosexual community. These ideals were combined in what is called gender studies and queer literary theory. Some of these concepts and ideas of queer and gender theory can be seen throughout the play
But things were slowly evolving in the movies. Independent films had been featuring gays and lesbians as main characters, depicting real life and real relationships. Armistead Maupin’s Tales of The City revolved around a homo-hetero pairing.
The Color Purple depicts the struggle within the life of the female protagonist, Celie. Celie, a clear victim of abuse, narrates the story through a collection of writings that starts with her confession of “Dear God.” Celie’s story encompasses around her life and the characters that breaks the common gender depiction. The story heavily addresses the subject of social and behavioral standards for either men and women. It raises an issues on traditional marital subjects, family patriarchy, and social topics. In a traditional take of the family structure, the man often exhibits the dominant male figure head with the final say. The father provides the money and security for the wife and children as well as claim authority over the family. He becomes very work oriented and cares for the children only in times of need. On the other hand, the woman acts to be passive and pleases her husband. She plays a major role in raising and educating the children in every way possible. Often times, the woman takes a small part in maintaining a profession; although, she holds responsibility for all house work. The societal perspective of the patriarchal family system relies so heavily on gender roles that it becomes an expectation and the regulated norm. The Color Purple disrupts this gender norm by introducing characters that faces marital issues due to being the opposite of the typical gender role. Because they embody the opposite gender’s likely attributes, it becomes a questioning issue that leads to striving to live up to social norms or dealing with society disapproval. Within the progression of the novel, the women possess a sense of empowerment while as the men accept how things are in the world. The introducti...
I am the kind of person who enjoys movies; however, this does not apply to all genres. Interestingly, despite being a girl who is still interested in boys, my favourite genre of movie is gay movies. In general, I make a decision whether or not I will watch a movie by reading its review, and I have yet to be disappointed from this. This corresponds to Scott and Yalch’s (1980) claim that a favourable review would intensify a consumer’s expectation, if her previous experience indicated that the pleasure she got from watching movies is same as her prediction from a review. I think the basic reason why I selected “Transamerica” is precisely because its review was so interesting. Nonetheless, apart from that particular reason, there are other reasons which influence my continuing to watch gay movies – a feeling of sameness and a relief of tension arising from internal conflicts.