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Michèle Mendelssohn

‘rich investment’ of clippings ‘that matured their hard-core innocence’ (CCB 3). In the fourth section, he confesses: When I was very young my thrill was travesty: my tiny aunt’s stilettos were smuggled to school in a bag (CCB 4) The passage thrills with violence and sexual potential. Is it travesty, transvestism or tragedy? Or all three? The aunt’s stilettos may be shoes, but they are also daggers that lacerate normative ideas of masculinity with the faux-innocent question they generate: Was virility the first sortie, to Fledermaus, craning at the rail to see the

in Alan Hollinghurst
Questioning gender roles
Brigitte Rollet

didn’t care whether you could afford or not to raise a child. They didn’t care who’d got you pregnant. They didn’t think about the fact that the man was just as guilty. It was the woman who had to put up with all the worry and the criticism. 11 ‘A woman can play a male role and vice versa without necessarily being homosexual. Transvestism is not a convention of the past, it represents a form of freedom wiped away by stupid traditions of naturalism and which we should be capable of restoring today

in Coline Serreau
From Le Thé au harem d’Archimède to Cheb
Carrie Tarr

instead appeals to the audience’s fascination with sexual ambiguity (like other French films of the 1980s such as Bertrand Blier’s 1986 film Tenue de soirée ). Miss Mona blatantly problematises issues of sexual identity and spectacle, and the spectacle that is foregrounded is that of male transvestism, announced by the film’s garish poster showing Jean Carmet in drag. (It was Jean Carmet who played the infamous racist in Yves Boisset’s Dupont Lajoie in 1974

in Reframing difference
Rebecca Jennings

way-out case of transvestism (if not indeed of trans-sexuality) was unfortunate, and could only add to the confusion of the public that the programme was meant to enlighten.67 MRG’s aim, ‘to promote intelligent and properly informed press and radio comment’, was indicative of a desire to emphasise those aspects of lesbianism which might be seen as more compatible with wider social mores.68 Press interest in the subject was, however, roused only sporadically, often prompted by related events. The formation of MRG and publication of Arena Three prompted a small

in Tomboys and bachelor girls
Barry Jordan and Rikki Morgan-Tamosunas

cultural radicalism in the 1980s came from Madrid’s Movida movement which, among its leading figures, produced Spanish cinema’s enfant terrible Pedro Almodóvar. The protagonists of the Movida seemed to espouse a radical apoliticism and practised a kind of ‘cultural transvestism’, trying on and casting off the range of different identities which suddenly became possible after the end of the

in Contemporary Spanish cinema
Dandies, cross-dressers and freaks in late-Victorian Gothic
Catherine Spooner

and ladylike, and her very modest garments would scarcely indicate transvestism to a modern viewer, her innovation generated numerous cartoons portraying women in trousers drinking, smoking and proposing to submissive men. Later in the century, trousers were associated with the new-fangled sport of bicycling, thus becoming a signifier of modernity, and specifically of modern femininity, mobile, healthy and independent

in Fashioning Gothic bodies
Abstract only
Craig Taylor

–6 ]. It is hardly surprising that Joan’s enemies used her transvestism as a weapon against her. More interesting is the reaction of her supporters who clearly had to rationalise and assimilate her unconventional assumption of masculine roles and clothing with her status as a holy woman and visionary. Joan’s military activities were somewhat difficult to justify, given the clear gendering of such

in Joan of Arc
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Stephanie Dennison and Lisa Shaw

, ends up in bed with Oscarito’s character, mistaking him for his wife, and unwittingly tries to seduce him under the covers, while in Pistoleiro bossa nova , Grande Otelo’s new comic sidekick, Ankito, ends up sitting in the black character’s lap on a train journey. Such passing hints at a homo-erotic subtext conspire with the commonplace motif of transvestism in the chanchada , itself a mainstay of popular humour in the

in Popular cinema in Brazil, 1930–2001
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Psychanalyse et Politique and the spaces of women’s art
Rakhee Balaram

(and visible tape) through several layers of imaging that construct or deconstruct the body (as a source of knowledge). Discussing her paintings from the series, some of which contain several layers of transvestism, critic Alain Jouffroy notes Dauriac's willingness to take on and use aspects of pornography as a source of inspiration mixed with latent voyeurism: Il n’y a pas d’autre sens à découvrir, je crois, dans ce tableau, intitulé le con de Carole où une femme masquée se tient, nue, renversée

in Counterpractice
Rebecca Munford

was a pirate ship, and went under false colours”’ ( NC 32). Identified as a suffragette, ‘a one for “Votes for Women”’ ( NC 38), Nelson is also a crossdresser. In an act of ‘authorial transvestism’ (Sage, 1992 : 173) that echoes the various citational travesties that constitute The Passion of New Eve , Ma Nelson borrows the words of Apollinaire to celebrate Fevvers as ‘the pure child of the

in Decadent Daughters and Monstrous Mothers