By Barbara Mennel
Queer Cinema: Schoolgirls, Vampires, and homosexual Cowboys illustrates queer cinematic aesthetics by way of highlighting key motion pictures that emerged at old turning issues during the 20th century. Barbara Mennel lines the illustration of gays and lesbians from the sexual liberation events of the roaring Twenties in Berlin to the Stonewall uprising in ny urban and the emergence of queer activism and movie within the early Nineteen Nineties. She explains early tropes of queerness, comparable to the boarding institution or the vampire, and describes the advance of camp from Fifties Hollywood to underground paintings of the overdue Sixties in manhattan urban.
Mennel concludes with an exploration of the modern mainstreaming of homosexual and lesbian motion pictures and worldwide queer cinema. Queer Cinema: Schoolgirls, Vampires and homosexual Cowboys not just bargains an creation to a homosexual and lesbian movie heritage, but additionally contributes to an instructional dialogue approximately queer subversion of mainstream film.
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Additional info for Queer Cinema: Schoolgirls, Vampires, and Gay Cowboys
Sample text
Hollywood could not portray homosexuality without homophobia, but could also not engage in homophobic discourse without acknowledging traces of homosexuality, creating the dyad of homosexuality and homophobia. Two years later, also based on a play, Wyler’s The Children’s Hour centres on the unspeakable nature of lesbian desire and the discursive effects it produces. Like Suddenly, Last Summer, The Children’s Hour includes famous Hollywood stars, Shirley MacLaine, Audrey Hepburn and James Garner.
Wood identified as a straight man who liked to wear women’s clothes with a particular fetish for angora sweaters (see Grey 1992). He loved early horror films, such as Tod Browning’s Dracula (1931), starring Bela Lugosi, which continued the homoerotic and expressionist traditions from the Weimar Republic in the B-movie category, brought to the US by exile directors from Germany, such as Edgar G. Ulmer (see Isenberg 2004). Wood’s Glen or Glenda exemplifies camp created on the margins of Hollywood.
The different Screen Tests produce a hypnotic effect when characters, such as Nico or Freddy Herko, move around within and out of the frame. When images are out of focus, as in Richard, they evoke cinematic traditions of faded memories. Characters embody the 1960s cool, such as when Lou Reed in Lou appears in his sunglasses, drinking coca cola. Jane Holzer in Jane brushes her teeth, in an extreme close up, contrasting glamour with the mundane, transforming the latter into an erotic activity. The Screen Tests employ the mechanics of cinema that create mystery, such as lighting, or invite projection, such as soft focus, creating artifice with a minimalist and formalist approach.