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Queer Enough? / Conclusion: The Commercialisation of Diversity
Queer Enough? / Conclusion: The Commercialisation of Diversity
Contents
Chapter
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1–10
Titelei/Inhaltsverzeichnis
1–10
Details
11–20
Introduction: an Interdisciplinary Approach to lgbtqian+ Cinema
11–20
Details
21–40
1. Queer Cinema
21–40
Details
1.1 From the Celluloid Closet to New Queer Cinema
1.2 More Visibility, More Normality?
1.3 After Brokeback Mountain: New Paradigms in lgbtqian+ Cinema
41–104
2. Queer Theory
41–104
Details
2.1 Heteronormativity and Queer Subversion
2.2 Homonormativity and Hegemonic Gay Masculinity
2.3 Formal-Aesthetic Features of Queer Cinema
2.4 Heteronarrative and the Gaze
2.5 Historical Background and the Biopic Genre
105–236
3. Queer Biopics?
105–236
Details
3.1 Modes of Oppression: The Negative Depiction of Heteronormativity
Defence of the Heteronorm
Institutional and Paternal Violence
Homophobia and the Religious Right
3.2 Coming Out: The Emancipation of the Central Characters
Ginsberg’s Artistic Breakthrough
Danny’s Coming Of Age
Milk’s Self-Empowerment
3.3 Between Authentication and Intimacy: Queer or Homonormative Gaze?
Exclusion in Howl
Straightwashing in Stonewall
Collectivisation in Milk
3.4 Genius, Rebel, Martyr: Archetypes of Hegemonic (Gay) Masculinity
The Misunderstood Genius
The All-American Rebel
The Immortal Martyr
237–250
Conclusion: The Commercialisation of Diversity
237–250
Details
251–263
Works Cited
251–263
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Queer Enough? , page 237 - 250
Conclusion: The Commercialisation of Diversity
Autoren
Anna Carolin Müller
DOI
doi.org/10.5771/9783748940968-237
ISBN print: 978-3-7560-0583-3
ISBN online: 978-3-7489-4096-8
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doi.org/10.5771/9783748940968-237
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