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Intimacy, Shame, and the Closet in James Baldwin’s Giovanni’s Room
Monica B. Pearl

This essay’s close interrogation of James Baldwin’s 1956 novel Giovanni’s Room allows us to see one aspect of how sexual shame functions: it shows how shame exposes anxiety not only about the feminizing force of homosexuality, but about how being the object of the gaze is feminizing—and therefore shameful. It also shows that the paradigm of the closet is not the metaphor of privacy and enclosure on one hand and openness and liberation on the other that it is commonly thought to be, but instead is a site of illusory control over whether one is available to be seen and therefore humiliated by being feminized. Further, the essay reveals the paradox of denial, where one must first know the thing that is at the same time being disavowed or denied. The narrative requirements of fictions such as Giovanni’s Room demonstrate this, as it requires that the narrator both know, in order to narrate, and not know something at the same time.

James Baldwin Review
Abstract only
Guillaume Dustan and Erik Rémès
Victoria Best
Martin Crowley

edited volume on gay literature, Dustan writes: ‘L’art, j’en ai jamais rien eu à foutre […] C’est ma vie qui m’intéresse’ ( 2003 : 383). [‘As for art, I’ve never given a flying fuck […] What interests me is my life.’] If gay literature has a specificity, he claims, it would be here, in this autobiographical immediacy: ‘La littérature homosexuelle dit je. Ce faisant elle se donne pour sujet le sens même de la vie le sens de

in The new pornographies
Rowland Wymer

Collection I, Box 5, Item 4. 25 Jarman, Dancing Ledge , p. 202. 26 Jim Ellis, ‘Conjuring The Tempest : Derek Jarman and the Spectacle of Redemption’, Gay Literature Quarterly , 7:2 (2001), 265–84 (p. 265). 27 BFI Jarman Collection

in Derek Jarman
Guy Austin

reliant on the more established field of gay literature, as in Jean Cocteau’s film of his own play, Orphée (1950), or the various adaptations and derivations from the writings of Jean Genet, the most prominent of which is Fassbinder’s Franco-German co-production Querelle (1982). After May 1968 however (see chapter 2 ), the creation of avant-garde gay film independent of mainstream cinema began to grow rapidly

in Contemporary French cinema