The ambivalence no longer serves to read the others as metaphors for homosexuality and/or queerness, but allows us to imagine queer subject positions and transgressive norms and values in close relation to actual gay characters.★★★★★ ‘Raw’ is a French Horror which follows lifelong vegetarian Justine as she engages in the unusual initiation rituals of a veterinary school.ĭirector: Julia Ducournau.
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Using a textual analysis of two contemporary fantasy series (Torchwood and True Blood), this study illustrates how the inclusion of gay characters rearticulates this ambivalent position of the fantasy genre toward homosexuality. However, a few 21st-century fantasy series are breaking the tradition by representing characters and themes explicitly marked as gay. On the other hand, deconstructionist practices have revealed how the other may be read as a form of cultural resistance and a powerful metaphor for gay men and women. Hence, from a queer theoretical perspective, homosexuality has been represented as a threat to the hegemonic discourse of heteronormativity. On the one hand, the genre has omitted representations of gay characters or displaced homosexuality onto the victims, villains, or nonhuman others. Further, this dissertation follows contemporary strains in queer theory that deconstruct notions of “development” and “maturity” as agents of heteronormative power, as seen in the work of Michael Moon, Lee Edelman, Ellis Hanson, Jose Esteban Muñez, and Kathryn Bond Stockton.ĪBSTRACT Fantasy films and television series have generally taken an ambivalent position toward homosexuality. Interestingly, though child monsters appear centrally in several of the highest-grossing films in the horror genre, no critic has offered a comprehensive explanation as to what draws audiences this particular type of monstrosity. This dissertation begins with concrete examples of queer reception, such as fan discourse, camp reiterations, and GLBT media production, and uses these responses to reinvestigate the films for sites of queer engagement. As gays and lesbians have been culturally deemed “arrested” in their development, the revolting child functions as a potent metaphor for queerness, and the films provide a mise-en-scène of desire for queer spectators, as in the “masked child” who performs childhood innocence. This work argues that the pleasure of these films vacillates between Othering the child to legitimate fantasies of child abuse and engaging an imagined rebellion against a heteronormative social order. These figures, as seen in films such as The Bad Seed, Village of the Damned, and The Exorcist, “revolt” in two ways: they create feelings of unease due to their categorical perversion, and they also rebel against the family, the community, and the very notion of futurity. “Malice in Wonderland: The Perverse Pleasure of the Revolting Child,” explores the place of “revolting child,” or the child-as-monster, in horror cinema using textual analysis, discourse analysis, and historical reception study. The question of what constitutes the sinthomosexual-and its attendant binaries-thus begin to destabilize, becoming their own form of indeterminate abyss. What the ultimately narrative attempts, though, is an exploration toward the social and the consequences of that journey. Therefore, The Woman also demonstrates a turn toward Lee Edelman’s concept of the sinthomosexual, who refuses the future because of its sexuality. Further, the stripped eroticism of the movie’s “sex” scenes disrupts the normally charged arena of male/female intimacy, revealing a consumption tied to queer disavowal, tied to the film’s horrific (and visual) core. Both intersect through The Woman, who I argue stands for an exemplary, and monstrous, instance of Bond Stockton’s queer child. Exploring both excavated affect and an off-centre viewpoint, the film surveys outsiderness and the persistent threat of abyss.
#Julia ducournau gay movie#
The narrative positions the film’s protagonist, a woman stalking lonely men, into an aslant perspective that Glazer’s movie shares. The restrained visuality throughout the movie sets it apart from the normative fantasy of Hollywood science fiction and the explicit violence of horror, establishing an ironically queer aesthetic through the deployment of what I call an “anti camp” opposing Sontag’s definition of an emphatic and depolitical visual realm.
My paper claims that the genre-shifting film plays on notions of conventional artistry to subvert audience expectations, establishing a queer identity that resides in the monstrous.
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From its opening moments of monochromatic imagery juxtaposed with sparse photography, Jonathan Glazer’s Under the Skin (2013) places the viewer into negative space.
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