‘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
Almodóvar’s, Amenábar’s and de la Iglesia’s generic routes in the US market

García Bernal, has been added to the Almodovarian universe. In this respect, the Spanish trailer of La mala educación is radically different in as much as it is significantly longer, it includes several bits of dialogue, it explicitly foregrounds the metacinematic dimension of the film and it emphasises the central themes of homosexuality and transvestism and their relationship with the repressive role

in Contemporary Spanish cinema and genre
From Le Thé au harem d’Archimède to Cheb

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
Patricia Duncker’s The Deadly Space Between and The Civil Partnership Act

structures of identity and relationships. David Punter argues that vestment and the ceremonial characterize Gothic narratives. 11 The novel takes this Gothic vestism one step further by developing a narrative transvestism whereby in his narrative performance Toby dons on and off the different accounts of the Oedipal myth that were produced throughout history. Spectacles of desire and performances of kinship are enhanced through

in Gothic kinship
Angela Carter’s werewolves in historical perspective

contes de Perrault (Paris: Imago, 2004). 33 On Perrault and transvestism, see Orenstein, Little Red Riding Hood Uncloaked , 198–200. 34 See Walter Scherf, Das Märchenlexikon (Munich: Beck, 1995), 687–689; Bacchilega, Postmodern Fairy Tales

in She-wolf
Abstract only
An East End apocalypse

, a knotted rope-end. Flattened nipples painted around with star-shapes, mapped skin: Sir William Withey Gull. 47 This scene of disguise and masquerade is overlaid with transvestism and the occult (‘painted around with star-shapes’), complicating the already troubled and split subjectivity of Gull. Hyde, the monstrous Doppelgänger , becomes Lady Gull, the monstrously impersonated wife. In the word ‘split’, the violence of the autopsy and of the murder is displaced onto images of somatic disruption, of the body

in Iain Sinclair

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

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

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

–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