The Dissolving "I": Abjection and Becoming in Queer Cinema
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This thesis explores abject depictions of gay, racialized and gender nonconforming people in independent and experimental queer films. I analyze O Fantasma (Portugal, João Pedro Rodrigues, 2000) and The Living End (US, Gregg Araki, 1992) in relation to theories of queer negativity, utopia, affect and embodied spectatorship; Un chant d’amour (France, Jean Genet, 1950) and The Attendant (UK, Isaac Julien, 1993) through theories of race, bottoming, shame and debasement; and Liquid Sky (USA, Slava Tsukerman, 1982) and Dandy Dust (UK, A. Hans Scheirl, 1998) in conjunction with posthumanist and transgender theories of becoming. I argue that these films create opportunities for ambiguity, in-between states, and multiplicities, eliciting intellectual and affective responses that exceed anti-normative and nihilistic approaches in queer theory.
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Copyright © 2017 the author(s). Theses may be used for non-commercial research, educational, or related academic purposes only. Such uses include personal study, research, scholarship, and teaching. Theses may only be shared by linking to Carleton University Institutional Repository and no part may be used without proper attribution to the author. No part may be used for commercial purposes directly or indirectly via a for-profit platform; no adaptation or derivative works are permitted without consent from the copyright owner.
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- 2017
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chamoun-thedissolvingiabjectionandbecominginqueer.pdf | 2023-05-05 | Public | Download |