Aimée, Jaguar and gender melancholia

Dawson, Leanne

doi:10.1386/seci.9.1.35_1

Cited by 30 publications

(1 citation statement)

References 2 publications

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“…Notable queer examples include Kutluğ Ataman's Lola+Bilidikid (1999), which features a plethora of bilingual Turkish-German trans subjects, drag queens, and rent boys indulging in homosexual acts but denying a nonheterosexual identity, as well as Max Färberböck's Aimée & Jaguar (1999) about a Jewish lesbian passing as gentile and the fluid sexualities of the women she associates with. See Dawson (2012) for further discussion of queerness in this film. More recently, Christian Petzold (2005), Fatih Akin (2007), and Monika Treut (2009 have made films with queer characters from Germany and beyond, who appear to return from beyond the grave, pushing the limits of otherness even further, and I am currently working on a research project based on this.…”

Section: Class Community Criminalitymentioning

confidence: 99%

Passing and policing: controlling compassion, bodies and boundaries inBoys Don’t CryandUnveiled/Fremde Haut

Dawson

2015

Studies in European Cinema

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This article examines the cinematic representation of passing men, focusing on the underlying theme of cis male fear and the resulting policing of borders: bodily, geographical, and social, employing queer theory (Butler; Halberstam) alongside the work of Foucault, to consider how power is articulated and policing is conducted in relation to the body and relationships. It commences with a reading trans tropes, before homing in on identity in relation to medium specificity to consider sight-the filmic gaze-alongside the sense of touch, then reading these aspects with the political reality of socioeconomic position, queerness, crime, and location. It then pulls back to consider representation, appropriation and arthouse film and culture to offer an interjection that reflects not only on fantasy and the cinematic screen, but also political reality.

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Section: Class Community Criminalitymentioning

confidence: 99%

Passing and policing: controlling compassion, bodies and boundaries inBoys Don’t CryandUnveiled/Fremde Haut

Dawson

2015

Studies in European Cinema

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Queer European Cinema: queering cinematic time and space

Dawson¹

2015

Studies in European Cinema

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Queer European Cinema', the theme of this Studies in European Cinema special issue, combines two complex constructs: Europe and Queer. Attempts to define 'Europe' are fraught with complexity, particularly when linked to identity, such as citizenship. 'Queer', too, isintentionallydifficult to define. The word first entered the English language in the sixteenth century to mean strange or eccentric and by the twentieth century was used as a derogatory term, especially to describe men perceived as 'effeminate', 'manly' women, and what later came to be known as 'gay' people in general. In the 1980s, in the midst of the AIDS crisis, the word was reclaimed and used either neutrally or positively as an umbrella term by some lesbian, gay, bisexual, and trans (LGBT) people, who came togetherin a way they never had before and have not done sincein order to care for those who were HIV+ and to protest against their treatment, particularly by the Reagan administration in the USA.From this grass-roots political reclamation, queer was then picked up in the academy: a seminal work in what came to be known as queer theory is Judith Butler's Gender Trouble: Feminism and the Subversion of Identity (1990), in which Butler argues that gender is constructed through the repetition of the dominant conventions of gender so that it appears to be inherent or natural, which she terms 'gender performativity' and later distinguishes from the 'bounded act' of performance (1993, 234). Although gender performativity is a 'doing' rather than a 'being', Butler contests the idea of a 'doer' behind the 'deed ' (1990, 25). Where queer theory originally considered gender and sexuality, a noteworthy trend in the past decade is that of queer temporality, with a focus on non-normative life schedules either alongside or rather than queer gender or sexuality. Although queer space has been discussed and theorized by numerous scholars in recent years, notably J. Jack Halberstam and José Esteban Muñoz, it is the focus on queer temporalities, rather than space, both of which were highlighted in Halberstam's A Queer Time and Place: Transgender Bodies, Subcultural Lives (2005), that has really been trending in queer scholarship, including work by Lee Edelman (2004), Elizabeth Freeman (2007) and José Esteban Muñoz (2009 to name just a few scholars who have contributed significantly to this area. Furthermore, queer is frequently used not only as an adjective or a noun, but also a verb: to queer can mean to read against the grain e.g. highlighting homoerotic or queer elements in film that is otherwise perceived as straight and is a technique long used by LGBT cinema-goers in order to identify more identities like, or similar to, their own, particularly in times when there was a dearth of homosexuality onscreen. More recently, it has been employed by academics whose queer readings aim to subvert a text.

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Queere Nation?

Roche

2023

Film

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Welchen Platz nimmt Queerness in der deutschen Post-Wende-Nation ein? Und welche Erzählungen von Nation und Queerness bieten queere deutsche Filme in der Nachwendezeit an? Jeanette Roche zeigt aus intersektionaler Perspektive, dass dort eine Reihe von Möglichkeiten queerer Subjektpositionen für das Verhältnis zur Nation nach '89 entstehen. Sie reflektiert dabei die im Film aufkommenden Ambivalenzen zwischen Normalisierungsnarrativen und deren Umformung. Dabei wird deutlich: Der Diskurs um Nationalismus findet immer auch sexualisiert und vergeschlechtlicht statt.

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Aimée, Jaguar and gender melancholia

Cited by 30 publications

References 2 publications

Passing and policing: controlling compassion, bodies and boundaries inBoys Don’t CryandUnveiled/Fremde Haut

Passing and policing: controlling compassion, bodies and boundaries inBoys Don’t CryandUnveiled/Fremde Haut

Queer European Cinema: queering cinematic time and space

Queere Nation?

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