Loneliness and Pathos in Heiner Carow's Coming Out (1989).
Heiner Carow's Coming Out (1989) is unique as the first (and last) East German feature film to place a homosexual relationship front and center. Coming Out challenges the social and institutional attitudes and conventions of a heterosexist East German society. Taking seriously Carow's suggestion tha...
| Publicado en: | Feminist German Studies Vol. 39; no. 2; pp. 25 - 49 |
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| Formato: | Artículo |
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University of Nebraska Press
Fall/Winter2023
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=174724592&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 174724592 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 25785206 MC25 jtl: Feminist German Studies issn: 25785206 maglogo: N pubinfo: dt: Fall/Winter2023 vid: 39 iid: 2 pid: 758 pub: University of Nebraska Press artinfo: ui: 174724592 10.1353/fgs.2023.a917806 ppf: 25 ppct: 24 formats: fmt: @attributes: type: P size: 1022KB tig: atl: Loneliness and Pathos in Heiner Carow's Coming Out (1989). aug: au: PRESTON, THOMAS affil: Visiting assistant professor at Middlebury College, Vermont sug: ab: Heiner Carow's Coming Out (1989) is unique as the first (and last) East German feature film to place a homosexual relationship front and center. Coming Out challenges the social and institutional attitudes and conventions of a heterosexist East German society. Taking seriously Carow's suggestion that cinema is a form of debate, this article explores through precise considerations of form and affect how the film sought to move a predominantly heterosexual audience emotionally as part of its project to meaningfully integrate the queer community into the social whole. I analyze the film's mood-rich disclosure of its world, the employment of melodramatic conventions, and the use of strategies that blend the diegetic world with extradiegetic reality. Through my analysis of Coming Out along both aesthetic and affective lines, I emphasize the film's value beyond its amply discussed representation of queer life in the GDR as an example of how cinematic affect operates politically through particular strategies unique to film form. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Feminist German Studies is the property of University of Nebraska Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Feminist German Studies holder: University of Nebraska Press dt: @attributes: year: 2023 holdings: @attributes: islocal: N |
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