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1 Indeed, social and political reality majorly influenced the big screen. Cross-dressing, too, featured in relatively early film, but gender bending by actors as well known as Charlie Chaplin and Fatty Arbuckle was halted by the introduction of the Motion Picture Code, commonly known as the Hays Code, in 1930. The Dickinson Experimental Sound Film (William Kennedy 1895), from the USA, has been read as the first depiction of homosexuality in film as it features two men dancing together, which certainly can be read as homoerotic or queer, regardless of sexuality. While onscreen space is examined here, the next issue in this collection will focus on the significance of queer space both onscreen and off: queer film festivals.
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This introduction does, therefore, not only identify dominant trends and overlaps both within and across countries and time periods, creating somewhat of a queer time and space in itself, but also frames the series of issues on Queer European Cinema that I am editing, of which this is the first.
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More recently, it has been employed by academics whose queer readings aim to subvert a text.īefore considering the queer films of Europe and beyond analysed in this special issue, let us step back to reflect on the brief – due to space constraints – history of LGBTQ film in countries and cinemas of the five articles contained here, which both outlines examples of the aforementioned subversive against the grain queering as well as more obvious depictions of LGBTQ subjects.
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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. 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.įurthermore, 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. Although queer space has been discussed and theorized by numerous scholars in recent years, notably J. 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 gender performativity is a ‘doing’ rather than a ‘being’, Butler contests the idea of a ‘doer’ behind the ‘deed’ ( 1990, 25). 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 together – in a way they never had before and have not done since – in order to care for those who were HIV+ and to protest against their treatment, particularly by the Reagan administration in the USA.įrom 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). 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. ‘Queer’, too, is – intentionally – difficult to define. Attempts to define ‘Europe’ are fraught with complexity, particularly when linked to identity, such as citizenship. ‘Queer European Cinema’, the theme of this Studies in European Cinema special issue, combines two complex constructs: Europe and Queer.