格林的线索》或《线索有什么古怪？

IF 0.1 3区艺术学 0 FILM, RADIO, TELEVISION

CAMERA OBSCURA Pub Date : 2023-12-01 DOI:10.1215/02705346-10772561

Gabriel Bloomfield

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引用次数: 0

摘要

本文探讨了乔纳森-林恩（Jonathan Lynn）的《线索》（美国，1985 年）中对同性恋性行为和阅读模式的表现。这部原本票房惨淡却成为经典影片的影片，利用格林先生这个角色来集中和消解其同性恋能量。虽然格林一开始就宣称自己是 "一名同性恋者"，但他的性取向却从悬疑叙事中被抽离出来，而其他角色的性取向却没有被抽离出来。文章借鉴了伊芙-科索夫斯基-塞奇威克（Eve Kosofsky Sedgwick）和朱诺-吉尔-理查兹（Juno Jill Richards）等同性恋理论和影迷研究的见解，认为《线索》的结构是由其对格林的性取向所产生的焦虑、恐惧反应所决定的；它既描绘了同性恋解读，也引发了对同性恋解读的偏执；这部电影的未来取决于围绕它而兴起的现代影迷文化中富有想象力的再创造和再同性恋化。

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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Green's Clues, or What's Queer about Clue?

This essay reckons with the representation of queer sexualities and modes of reading in Jonathan Lynn's Clue (US, 1985). The film, originally a box office flop that has become a cult classic, deploys the character of Mr. Green to concentrate and dispel its queer energies. Although he declares near the start that he is “a homosexual,” Green's sexuality is evacuated from the mystery narrative in a way that no other character's is. Drawing on the insights of queer theory and fan studies from Eve Kosofsky Sedgwick to Juno Jill Richards, the essay argues that Clue is structured by its anxious, phobic reaction to Green's sexuality; that it both depicts and provokes paranoid queer readings; and that the movie's future depends on the imaginative re-creations and re-queerings of the modern fan culture that has sprung up around it.

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来源期刊

CAMERA OBSCURA FILM, RADIO, TELEVISION-

CiteScore

0.30

自引率

0.00%

发文量

期刊介绍： Since its inception, Camera Obscura has devoted itself to providing innovative feminist perspectives on film, television, and visual media. It consistently combines excellence in scholarship with imaginative presentation and a willingness to lead media studies in new directions. The journal has developed a reputation for introducing emerging writers into the field. Its debates, essays, interviews, and summary pieces encompass a spectrum of media practices, including avant-garde, alternative, fringe, international, and mainstream. Camera Obscura continues to redefine its original statement of purpose. While remaining faithful to its feminist focus, the journal also explores feminist work in relation to race studies, postcolonial studies, and queer studies.