In Alien3 Lt Ellen Ripley finds herself in a nightmare scenario. She has crash-landed on an abandoned prison planet, ‘Fury 161’, surrounded by a remnant of the inmate population (twenty-five prisoners, a medical officer and two administrators who have opted to remain in a care-taking capacity after the prison/refinery was closed). The prisoners are a violent group of rapists and murderers with double-y chromosome coding, who can only seem to control their excessive expressions of masculinity by fanatically embracing a fundamentalist religion. Ripley sums up the group as ‘a bunch of lifers who found God at the ass-end of space’. On one level, this setting begs for a story of male homosexuality: an all-male prison planet filled with sexual aggressors could be the recipe for a gay male porn classic. Instead, it becomes a tale of excessive masculinity manifested through heterosexual fears and desires. I want to take this discrepancy between homo-possibilities and hetero-manifestations as my point of departure to explore how Alien3s engagement with the Gothic diverts and expresses anxieties about queer masculinity, desire, and sexuality.
Fetish Filmmaking and the Revision of Masculinity in Scorpio Rising and Drive
This article examines how the ironic construction of queer masculinity from biker culture, a realm of consumer fetishism and hetero-masculinity, in Kenneth Anger’s Scorpio Rising (1964), influences Nicolas Winding Refn’s 2011 film Drive. As Anger’s film appropriates pop-culture images and icons of biker culture, fetishes of post-Second World War American masculinity, Refn uses overt references to Anger’s film to wage a similar reappropriation of muscle car culture, in the process challenging contemporary images of heterosexual masculinity in Drive. Like Anger, Refn relies upon the dynamics of fetishism and postmodernism’s illumination of the distance between sign and object to subvert muscle cars’ associations with masculine violence and rivalry, mobilising them instead to exploit the inherent multivocality of the fetishised object, seizing the car (and its mobility) as a getaway vehicle to escape prescriptions of identity and limiting definitions of gender and sexuality.
relational ethno-religious identity enabling the creation of new forms of queermasculinity at a remove from familial first-generation diasporic heteronormativity and second-generation diasporic gang hypermasculinity. The work of Rolla Selbak unites some of the strands of Sarif and El Hosaini’s work: her depiction of Muslim American women explores the challenges they face in conforming to received ideas of Islamic and Arab femininity, while denouncing the homophobia assailing diasporic Muslim communities, positing, meanwhile, a vision of Islam which, while resiliently
its writers that only a successful legal action will lead
to their content being removed. And who did Peterson
invite to put this commitment to the test? The farright YouTuber and Gamergater Carl Benjamin (also
known as Sargon of Akkad).19
In 2017 three scholars associated with the intellectual dark web orchestrated a hoax against Gender
Studies and other disciplines. This involved submitting
20 fake articles to academic journals in Gender, Queer,
Masculinities, Fat and Sexuality Studies; Critical
Race and Critical Whiteness Theory; Psychoanalysis;
above all through Dirk Bogarde vehicles like The Spanish Gardener
(Leacock, 1956). The Wolfenden Report was still two years away from
publication in 1957, but as Andy Medhurst notes, public debate on
homosexuality had been aired ever since the revelations in 1951 of the
Burgess/Maclean spying scandal. Sam’s subversive or queermasculinity
has a knock-on effect on Sonia and, through her impatience with Sam, on the
Porter (eds), Between the Acts, p. 178.
57 Benge, Confessions of a Lapsed Librarian, p. 25.
58 IWM SA, 21584/3, A. W. Weekes.
59 Letter from G. Sutcliffe to Emma Vickers, 8 September 2005.
60 D. Fee, “One of the guys”: instrumentality and intimacy in queer men’s friendships
with straight men’, in P. Nardi (ed.), QueerMasculinities (London: Sage, 2000),
61 Arguably, Freddie’s use of the well-known register of music hall gave his comrades a
means of comprehending his humour and helped to facilitate his integration.
62 Jivani, It’s Not Unusual, p. 65