Most of these films were set against an urban, white and affluent background – a clear ploy to reach a more mainstream audience. The 1980s was a highly politicised decade, in which a clear attempt was made to project a “positive” image of LGBT individuals to mainstream audiences, while at the same time looking for stories and characters for homosexual audiences to identify with. ![]() Nowadays it sounds extremely narrow in the legitimisation of Queer Cinema as a genre. This definition of “Queer Cinema” tied to narrative might have been useful in the process of disengaging from a long history of distorted images of queer characters in film history, and in the affirmation of a community. More: these characters are supposed to be represented in a “positive” manner. And what about narrative? If that were so, we would succumb to the canonical and overused explanation that Queer Cinema is any film whose main storyline represents LGBT characters. ![]() ![]() Were we to consider framing it as an isolated genre, with its own formal and narrative characteristics, we would also largely fail – Queer Cinema spans melodrama, comedy, neo-noir, and even westerns. We cannot give a definition of Queer Cinema locked inside a single format or language – it cuts across fiction and documentary, animation and experimental film.
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