Browsing Tag

Queerness

Posted on September 12, 2018

Sleepaway Camp and the Transgressive Possibilities of Queer Spectatorship

Guest Post

After a quick Google search, I was astounded as to how many blogs denounce Sleepaway Camp (1983) as transphobic. I’ve always been conscious of the film’s inherent homophobia – two children touch each other after seeing their father and his partner in bed, suggesting homosexuality as a taught paedophilic behaviour – but I’m less certain of the film’s inherent transphobia. As a cisgender gay man, it’s questionable whether I can rightfully claim what is and isn’t transphobic, but watching Sleepaway Camp, something less regressive resonates within me.

Angela’s father embraces his partner (top) for Angela and her brother to mimic their behaviour (bottom)

I first recall watching Sleepaway Camp at 15 years old. Besides the ending, I hated it. The only thing that carried me through was Angela (Felissa Rose) who I felt desperately empathetic towards. A quiet, tortured soul, I wanted to like her. I certainly felt a proud grimace of hope whenever she opened her mouth to speak. Little did I know, I was Angela; she’s the bullied caricature of every queer kid. Read more

Posted on March 24, 2016

The Function of Queerness on The Walking Dead

Elizabeth Erwin

As I have noted before, there is a danger in dissecting a television narrative that is still in the process of unfurling. Initially it was my intention to write about how queerness functions within The Walking Dead’s (television) universe after the final episode of season 6.  However, on Monday night (March 21, 2016) an exchange occurred on Twitter that made me think this is a more pressing conversation. Read more

Posted on July 22, 2015

Cat People (1942): Coding Lesbianism Via Otherness

Elizabeth Erwin

For every lesbian horror victim, such as Brandy in Hallow’s End (2003), there exists a murderous lesbian, such as May Canady in May (2002), to remind us of the perversion traditionally associated with lesbian desire. Previously we looked at how Dracula’s Daughter coded its lesbian narrative in order to escape censor from the Legion of Decency. This week we will take a look at how Cat People (1942) established markers of “otherness” in order to code its queerness.

Just as in Dracula’s Daughter, the main character of Cat People, Irena Dubrovna, struggles against a part of her true identity she fears will render her an outcast. Irena, a Serbian immigrant, believes she is descended from a cursed tribe in which any woman who has her passions aroused will shape-shift into a killing panther. Irena’s life is complicated when she impulsively marries Oliver, a New York architect. Unable to be intimate with him for fear of the curse, Irena is sent to a psychiatrist in search of a cure. The audience is left guessing whether Irena’s paranoia is the result of sexual repression or whether her fears may be well founded.

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