Queer disorientations in Only the Brave, Head On, and Blessed

IF 0.4 0 FILM, RADIO, TELEVISION
K. McWilliam, J. Gildersleeve
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Abstract

ABSTRACT In this article, we explore the orientation of queer bodies to the city – and to Lisa French’s (2013) motif of ‘looking from the largely industrialised west at the city’ in particular – in three films directed by Ana Kokkinos: Only the Brave (1994), Head On (1998), and Blessed (2009). In doing so, we take up Sara Ahmed’s queer phenomenological approach to focus on Alex (played by Elena Mandalis) in Only the Brave; Ari (played by Alex Dimitriades) in Head On; and Arthur/‘Roo’ (played by Eamon Farren) in Blessed. We argue that when each queer protagonist looks to the city they are not only multiply disoriented, their disorientations are also specifically triggered by earlier enunciations of queer desire. We argue that these physical, psychological, temporal, and spatial disorientations serve multiple purposes across these films. They symbolise the phenomenological disorientations of queer embodiment; disorientate viewers to offer them a queer spectatorial opportunity; and proffer the ‘hope of new directions’ [Ahmed, Sara. 2006b. Queer Phenomenology. Durham, NC: Duke UP] in the depiction of queerness in Australian cinema.
《只有勇敢的人》、《勇往直前》和《祝福》中的奇怪迷失方向
摘要在这篇文章中,我们在安娜·科基诺斯执导的三部电影中探讨了酷儿身体对城市的定位,尤其是丽莎·弗伦奇(Lisa French)(2013)提出的“从工业化程度较高的西方看城市”的主题:《只有勇敢的人》(1994)、《勇往直前》(1998)和《祝福》(2009)。在这样做的过程中,我们采用了萨拉·艾哈迈德的酷儿现象学方法,关注《只有勇敢》中的亚历克斯(埃琳娜·曼达利斯饰演);阿里(亚历克斯·迪米特里亚德斯饰演);以及《祝福》中的亚瑟/“鲁”(埃蒙·法伦饰演)。我们认为,当每个酷儿主角看着这座城市时,他们不仅会多次迷失方向,而且他们的迷失方向也是由早期对酷儿欲望的表达特别引发的。我们认为,这些生理、心理、时间和空间上的迷失在这些电影中有多种用途。它们象征着酷儿化身的现象学迷失方向;让观众迷失方向,为他们提供一个奇怪的观看机会;并在澳大利亚电影中对酷儿的描绘中提供了“新方向的希望”[Ahmed,Sara.2006b.酷儿现象学,北卡罗来纳州达勒姆:杜克大学]。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Studies in Australasian Cinema
Studies in Australasian Cinema FILM, RADIO, TELEVISION-
CiteScore
0.50
自引率
0.00%
发文量
7
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