A core part of the argument is that we can find a profusion of examples of how liquidness can be deployed queerly – critically, poetically, non-essentially – in contemporary digital cinema. Its writing aims to embody such qualities in arguing for liquid queerness, material and metaphorical, as a strategy of defense and dissidence in the face of the normativizing either-or demands made by digital networks. This essay locates the queerness of liquidness in its inherent instability and multivalence. Although we could date the cinematic queerness of water in its most aphrodisiac dimension to a film like João Pedro Rodrigues’s O Fantasma ( 2000) and find the penchant of liquidness to inhabit a less sexual, though just as lethal, form of queerness in Robert Bresson’s Mouchette ( 1967), the relationship between water and queerness gains new relevance and calls for new affective and material readings at a time when liquidness becomes perhaps the only matter antithetical to digitality, when “wimming may well be the last refuge from connectivity” (Tsui, 2014, p. 4 years and E20.What is the allegorical function of water at a time when data is coded to flow smoothly to its destination and migrant boats predestined to capsize? From Alain Guiraudie’s Stranger by the Lake ( 2013) to Barry Jenkins’ Moonlight ( 2016), it seems that filmmakers have increasingly turned to aquatic symbolism to say something about queerness and what is left of, or for, queerness in a world governed by the binary and segregating tendencies of the digital and its injunctions of permanent availability.10 years and E50.000, if 18 years or more.Offspring, sibling, parent or grandparent Same-sex relations are always prohibited.
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