Making Things Perfectly Queer: Interpreting Mass Culture
Alexander Doty
Language: English
Pages: 168
ISBN: 0816622450
Format: PDF / Kindle (mobi) / ePub
Adorno’s Practical Philosophy: Living Less Wrongly
Dialogue with Bakhtin on Second and Foreign Language Learning: New Perspectives
Blog Theory: Feedback and Capture in the Circuits of Drive
Global Lies?: Propaganda, the UN and World Order
Postmodern Public Administration
spectacle of androgynous moth, Arzner and Hepburn create spaces in Christopher Strong for the expression of queer erotics. Beyond this, these queer spaces often occur within sug gestively ambiguous narrative contexts, confusing and challenging the articulation of the film's straight ideological points regarding sexual ity, gender, love, and marriage. Arzner's comment about identifying with Christopher Strong makes sapphic sense: of course she would place herself in the position of Hepburn's
how to fly. When the real stewardess enters and tells everyone to prepare for a "crash landing," Shirley rushes to the cockpit, falls to her knees, says "Good-bye, Laverne," and gives her partner a passionate kiss. "We'll talk about that later, Shirl," replies a startled Laverne. But Shirley persists in expressing her deep feelings for Laverne as she squeezes into the pilot's seat so they can "die together." Touched by Shirley's sentiments, Laverne asks her if she remembers what she wrote in L a
areas of military entertainments during the war. Although gay mate rial, most notably female impersonation, could create tensions within the ranks, a strong current of heterosexualizing rhetoric from military spokespersons and the press attempted to keep any queerness in the realm of unspoken connotation. ' In this context, the suggestive gay ness of Benny's comic persona could be pushed to its limits. From the beginning, however, conventional comic effeminate or gay elements were apparent on
areas of military entertainments during the war. Although gay mate rial, most notably female impersonation, could create tensions within the ranks, a strong current of heterosexualizing rhetoric from military spokespersons and the press attempted to keep any queerness in the realm of unspoken connotation. ' In this context, the suggestive gay ness of Benny's comic persona could be pushed to its limits. From the beginning, however, conventional comic effeminate or gay elements were apparent on
1991): 10-17. 37. This reference to Lucy and Ethel is only one of a number of allusions in De signing Women to the series's lesbian sitcom predecessors. For example, the end of one episode finds Mary Jo, Charlene, and Julia deciding to protect Suzanne from pos sible arrest by saying they were with her when a fire broke out at the Design House exhibit. When Mary Jo says they are like the Four Musketeers, "all for one and one for all," everyone emotionally embraces each other in a big circle.
