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The carnival as structuring motif
Sue Harris

as a trigger for total narrative rupture. On another level, narrative excess in Tenue de soirée is firmly encoded in notions of display, and exhibition of the sexual impulse, and this is located principally in the character of Bob, who is seen in a variety of states of dress and undress, and ends the film in a state of flamboyant transvestism. The question of looking at what is being displayed is explored in a series of

in Bertrand Blier
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Thinking across
Alberto Fernández Carbajal

Germanic example is Kutluğ Ataman’s Lola and Billy the Kid , released in 1999 , a film about Turkish queerness and transvestism in contemporary Germany. Although the distinctiveness of Turkish Islamism has been explored in Özpetek’s work, the negotiation of Turkish queerness in other European locales would continue qualifying Kemalist and Islamist homophobia. If my critical attention in this book has been devoted to, chiefly, queer Muslim artists located in the Anglophone West, with the exceptions of France and Italy, the North/South axis

in Queer Muslim diasporas in contemporary literature and film
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Transgender performance and the national imaginary in the Spanish cinema of the democratic era
Ian Biddle and Santiago Fouz-Hernández

? La mala educación Pedro Almodóvar’s La mala educación (2004) provides some useful answers to this question. In this film, narratives about the Transition and transvestism are played out quite explicitly in a manner arguably indebted to Pons’s Ocaña . As will be seen, the ‘doubled-ness’ identified in Ocaña is worked through in Almodóvar’s film via the musical play of curtailed or partial forms in

in Screening songs in Hispanic and Lusophone cinema
The Mediterranean movida and the passing away of Francoist Barcelona
Alberto Mira

motto of many closeted public figures who would neither identify with or deny homosexuality, although this is clearly not the case with Ocaña. He rejects labelling imposed from the outside and proposes some labels of his own (Mira 2004 : 458–9). Something similar happens when he engages with the notion of transvestism: although he uses drag, this is just, he claims, incidental: he just likes it (or

in Spanish cinema 1973–2010
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Le Thé au harem d’Archimède and Hexagone
Carrie Tarr

are notably more pessimistic in respect of the fortunes of their main characters: the immigrant/ beur protagonist remains fundamentally isolated, while the sympathetic young white French males of the first films constitute a significant new structuring absence. However, a more complex approach to questions of gender and sexuality is to be found. As noted in chapter 1 , Miss Mona tackles the topic of homosexuality, transvestism and prostitution, while

in Reframing difference
Phil Powrie

feminine attire’ (Flügel 1930 : 119). This leads Flügel to consider transvestism, which ‘does not necessarily coincide with active homosexuality, or even with a tendency towards the physical characteristics of the opposite sex. Hercules himself . . . spent some time dressed as a woman’ (Flügel 1930 : 119). Korben Dallas may well be a modern Hercules in this narrative, fighting absolute evil which threatens

in The films of Luc Besson
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Embodiment and adolescence in recent Spanish films
Sarah Wright

ageing transvestite (an excellent turn from José Luis Gómez), he will later befriend Álex and ask for lessons in cross-dressing so that he can fill his daughter’s longing for her dead mother by performing as her every might. Whilst not entirely endorsing camp (there is little joy to be had in his nightly transvestism), the film nevertheless reveals the discrimination suffered by Leo as he goes out dressed as his late wife. Emotive scenes of a cross-dressed father and his daughter may recall Pedro Almodóvar’s pre-op transsexual, Lola, who cradles his son in a reworking

in The child in Spanish cinema
Elizabeth Ezra

the cross turns into a female seductress), while the transformation of women into men reassuringly reverses this scenario, though more often through transvestism than through substitution splicing: Méliès’s films abound in women dressed as male sailors, courtiers, pages, etc. It is worth noting that the men who turn into women are almost invariably transformed back into men, whereas the cross-dressing women rarely shed their

in Georges Méliès
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
Sue Harris

confrontation of’taboo subjects’ (sexual promiscuity, homosexuality, transvestism and adolescent sexuality to name but the most striking), his enthusiasm for verbal and pictorial vulgarity, and the mise-en-scène of liberated sexuality. This tendency is not peculiar to Blier. Indeed, the oppositional comic attacks and biting satire of contemporary mores which we find in his films can be fundamentally located within an established

in Bertrand Blier