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R. S. White

’s class. This becomes important in movies. Theatre was tenuously exempted from these laws except in the eyes of hard-line Puritans: The stage was a privileged site of transgression, in which two kinds of transvestism were permitted to players: changes of costume that violated edicts against wearing the clothing of the

in Shakespeare’s cinema of love
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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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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
The Man in Black
Richard J. Hand

, incest, monstrosity and deformity, masturbation, transvestism and transexuality, dead children, cruelty to animals, the imbibing of urine, erotic asphyxiation, vampirism, voodoo, implicit cannibalism (a rare moment of restraint), limb grafting and a plague of nosebleeds. Add nudity, some violence and gore, the occasional use of the word ‘fuck’, and an

in Listen in terror
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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
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Andrew Dix

very easily becomes second nature. However, this Nature does not sit easily and shifts restlessly in its borrowed transvestite clothes’ ( 1989 : 33). Where transvestism offers Mulvey a resource for conceptualising female spectatorship, masquerade fulfils this function for Mary Ann Doane. In ‘Film and the Masquerade – Theorising the Female Spectator’, an important essay first published in Screen in 1982, Doane utilises feminist work on the performed quality , rather than biological rootedness, of femininity. To think of this gender performance in terms

in Beginning film studies (second edition)
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