Idiosyncratic Ambiguities of Queer(able) Experience in Polish Film in the Early 2010s.
The search for queer/queerable moments in the post-1989 Polish cinema is a frustrating feat. While increasingly featuring LGBTQ+ characters, especially in the current decade, Polish cinema films rarely break away from heteronormative and, less frequently, homonormative stereotypization, which takes...
| Publicado en: | Central Europe Vol. 19; no. 1; pp. 38 - 53 |
|---|---|
| Autor principal: | |
| Formato: | Artículo |
| Publicado: |
Taylor & Francis Ltd
May2021
|
| Materias: | |
| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=ssf&AN=151304346&site=ehost-live header: @attributes: shortDbName: ssf uiTerm: 151304346 longDbName: Social Sciences Full Text (H.W. Wilson) uiTag: AN controlInfo: bkinfo: jinfo: jid: 14790963 QEJ jtl: Central Europe issn: 14790963 maglogo: N pubinfo: dt: May2021 vid: 19 iid: 1 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 151304346 10.1080/14790963.2021.1921996 ppf: 38 ppct: 15 formats: fmt: @attributes: type: P db: hlh ui: 151304346 tig: atl: Idiosyncratic Ambiguities of Queer(able) Experience in Polish Film in the Early 2010s. aug: au: Morusiewicz, Rafał su: Poland Homophobia Human sexuality Gender transition Teenagers Anal sex Gay men Comedy Film characters sug: subj: Homophobia Human sexuality Gender transition Teenagers Poland Anal sex Gay men Comedy Film characters keyword: film heteronormativity homophobia LGBTQ+ Polish queer film heteronormativity homophobia LGBTQ+ Polish queer ab: The search for queer/queerable moments in the post-1989 Polish cinema is a frustrating feat. While increasingly featuring LGBTQ+ characters, especially in the current decade, Polish cinema films rarely break away from heteronormative and, less frequently, homonormative stereotypization, which takes on a limited range of offensive or empathetic manifestations. The former, represented by low-brow comedies, such as Weekend (dir. Cezary Pazura, 2010) and Sex Change (dir. Konrad Aksinowicz, 2009), would continue the infamous tendency of cis-male filmmakers to poke fun at anal sex and dildos, which they apparently identify as representative of non-heteronormative sexual practices and behaviours. The latter, usually featuring one or two gay or lesbian characters in the roles of sidekicks to the protagonists, would constitute sympathetic responses to socio-political situations of LGBTQ individuals in Poland, marked by homophobia, coming-out hardship, and/or heavily non-egalitarian legislation in Poland. Yet, in the early 2010s, a few cinema films brought about cracks in the dominating trend, proposing instead multi-layered though heavily ambiguous studies of non-heteronormative characters living in contemporary Poland. Suicide Room (dir. Jan Komasa, 2011) presents a story of adolescent homophobia in a private secondary-school setting, simultaneously questioning the sexual identification and cis-ness of the protagonist. Floating Skyscrapers (dir. Tomasz Wasilewski, 2013) focuses on a cis-male swimmer who falls in love with an openly gay male while being in a romantic relationship with a woman. Secret (dir. Przemyslaw Wojcieszek, 2012) combines a reflection on non-heteronormative forms of kinship and of sexual identification with the non-memory of Shoah – it is one of several films released around that time, which are reactionary towards the discussion concerning the Polish participation in the pogroms on the Jewish Poles in the 1930s-1940s. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: N holdings: @attributes: islocal: N |
|---|