The ambivalence of queer visibility in audio- visual archives

: 359). Overall, archivists might be hesitant to classify the persons portrayed in the footage in terms of their sexual identity. Given the history of criminalising or pathologising LGBTQ persons, the reluctance to tag archival holdings as LGBTQ-​related is quite understandable. The scepticism about the usefulness of ‘naming’ can either be the result of latent or manifest homophobia among archivists or a means to acknowledge the risk of ‘naming’ as a way of reducing shifting identities to a single classification. The metadata on is mainly derived from the Swedish

in The power of vulnerability
Queering time, place, and faith in the diasporic novels of Rabih Alameddine

elided all the homoerotic stories, including those featuring the famous Baghdadi poet Abu Nuwas. El-Rouayheb suggests that the reason behind this censorship was the postcolonial elite’s distaste for homosexuality, which partly emulated the homophobia of the former British colonisers, and which resulted in their disavowal of any homoeroticism in the Islamicate past. It is the legacies of this homoerotic element in Arab culture that Alameddine excavates and sutures in The Hakawati , in which one of the main stories’ subplots deals with the sentimental relationship

in Queer Muslim diasporas in contemporary literature and film
Exploring transgression, sexuality, and the other

mirroring the stereotypical post-coital image. Benshoff suggests that Eigerman ‘and his men take a sadistic glee in brutalising the monsters they capture, referring to one queer monster-boy as “it” before they beat and kill him’. 44 The reference to a form of institutional homophobia is clear. In Nightbreed , Barker deconstructs and explores the

in Clive Barker
Frankenstein’s queer Gothic

onwards indicate that Frankenstein was subject to queer reading long before the advent of academic queer theory. 5 But in terms of the novel, recent queer scholarship draws largely upon the work of Eve Kosofsky Sedgwick, developing her analysis of male homosocial culture, homoerotic desire, homosexual panic and homophobia within the nineteenth-century ‘paranoid Gothic’: the ‘literary genre’ in which

in Queering the Gothic
Facing the apocalypse in Watchmen

further discussion, see Chapter 8 below). In this respect, Moore finds himself working within a tradition that is tied to the hegemonic framework in a manner strikingly similar to that found in Gothic fiction, which ‘often reproduces the conventional paranoid structure of homophobia and other moral panics over sex, and yet […] can also be a raucous site of

in Alan Moore and the Gothic Tradition
Queering the queer Gothic in Will Self ’s Dorian

peculiarly Gothic metaphysic. These ideas are established through an ostensible queer Gothic mode, but one in which queerness becomes increasingly associated with absence (as an aspect of the postmodern) as the novel projectively represents the AIDS crisis as an exercise in abjection. Approaching Dorian in this way indicates how this projection harbours within it an unresolved homophobia which

in Queering the Gothic
Diana Cullell

current capitalist society were what prompted this engagement. Even though at the time Spain was enjoying economic growth and development, the selfish nature of civilisation and the social inequality of the time were encapsulated in feeble, deteriorating ideologies and a lack of principles by society and governments alike. Immigration, poverty, child abuse, prostitution, homophobia, social indifference and even environmental activism were recurrent themes in this poetry. The visual arts and the prevalence of visual culture in the new millennium, in television, cinema or

in Spanish contemporary poetry
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(deserving claimants) and yet must make decisions based on credibility in order to enact hospitality. Or concerning suffering, where asylum is presented as a way to right the wrongs of homophobia in countries of origin, while at the same time fetishising the wounds of refugees in the context of a queer liberalism whose political identities are based on injuries that must simultaneously be erased (narratives of queer inclusion in the polity and the nation) and reasserted (narratives constituting queer identity around past and present suffering). Looking critically at these

in Discourses on LGBT asylum in the UK
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7 8 9 10 11 12 13 14 New Labour new horrors (1984), Robert Zemekis’s Back to the Future (1985) and Francis Ford Coppola’s Peggy Sue Got Married (1986), Emile Ardolino’s Dirty Dancing (1987) and Richard Benjamin’s Mermaids (1990). Such a return to the past was also visible in British films of the period, but here a more political agenda appeared to be at work: James Ivory’s Maurice (1987) and David Lean’s A Passage to India (1984) indicting the homophobia and racism of the British imperial past while a range of realist dramas resurrected real-life characters

in The wounds of nations
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Rementería y Fica, El hombre fino al gusto del día, manual completo de urbanidad, cortesía y buen tono, 3rd edn (Madrid: Colegio de Sordo-Mudos, 1837), 1.  4 R.W. Connell, Masculinities, 2nd edn (Berkeley: University of California Press, 2005); Michael Kimmel, ‘Masculinity as Homophobia: Fear, Shame, and Silence in the Construction of Gender Identity’, in Men and Masculinity: A Text Reader, ed. Theodore Cohen (Toronto: Wadsworth, 2001), 29–41.  5 My use of this term is informed by Eva Copeland’s excellent article ‘Galdós’s El amigo Manso: Masculinity, Respectability, and

in Spain in the nineteenth century