[ecrea] Queer Studies in Media & Popular Culture 2.2

Intellect is delighted to announce that the new issue of Queer Studies 
in Media & Popular Culture (2.1) is now available. This special edition 
of QSMPC focusses upon queer nostalgia and queer histories.

For more information about this issue please click here 
<https://www.intellectbooks.co.uk/journals/view-issue,id=3311/> or email 
(katy /at/ intellectbooks.com) <mailto:(katy /at/ intellectbooks.com)>.

Articles within this issue (partial list):

A fantastic fabrication of Weimar Berlin: Queer nostalgia, timeless 
memories and surreal spatiality in the film Bent 
<https://www.intellectbooks.co.uk/journals/view-Article,id=23916/>

Authors: Gilad Padva

Page Start: 167

The extravagant opening sequence of the film Bent directed by Sean 
Mathias (1997) fabricates a promiscuous gay venue in the mythic 1930s 
Weimar Berlin. While Greta’s club is completely fictional, the megastar 
Mick Jagger’s drag show in this sequence queerly transcends spatiality 
and temporality. Greta/Jagger not only anticipates the persecution and 
annihilation of gay men in Nazi Germany but also elegises modern queer 
subcultures and their often destructive self-indulgence. This sequence 
is a flamboyant return to the pastness of queer past that aesthetically 
represents a radically different queer contemporariness. The screening 
of queer nostalgia in this decadent opening sequence creates an 
allegorical space, a psychedelic modern Babylon or a sort of uncanny 
‘thirdspace’, a physical and mental space at the same time. The 
fantastic venue is interrelated with displacement of cultural 
production, reinvention of collective memory, queer melancholy and, 
particularly, camp performativity and a new vision of nostalgia as drag 
show.

Of love and longing: Queer nostalgia in Carol 
<https://www.intellectbooks.co.uk/journals/view-Article,id=23918/>

Authors: Allain Daigle

Page Start: 199

This article discusses nostalgia and sensation in Carol (Haynes, 2015), 
a contemporary melodrama about a lesbian romance in the 1950s. While 
Carol returns its romance to a closeted past, it presents a nostalgic 
view of queer desire that is neither wistful nor tragic. Drawing on 
Tamara de Szegheo Lang’s theory of critical nostalgia and Elizabeth 
Freeman’s theory of longing, this article argues that Carol’s nostalgic 
form, particularly its use of framing, texture and colour, unsettles 
linear experiences of time associated with looking at the past. Carol’s 
conspicuous formalism intertwines the phenomena and immediacy of 
temporal experience with the multiple experiences of historical desire, 
and the film’s aesthetics productively complicate its compliance with a 
larger narrative of linear progress. The interaction of framing, texture 
and colour in Carol engage ways of seeing that are critically full, 
rather than indulgently melancholic, of female desire in the 1950s.

Blending in and standing out: Storytelling and genre in the LGBT biopics 
Milk and Pedro 
<https://www.intellectbooks.co.uk/journals/view-Article,id=23920/>

Authors: Jonathan Lupo

Page Start: 227

This article considers the deployment of self-reflexive storytelling 
strategies by the titular protagonists in the LGBT biopics Milk (Van 
Sant, 2008) and Pedro (Oceano, 2008). Written by Dustin Lance Black, 
both films utilise the formal and narrative conventions as well as the 
historiographic features of the biopic genre to legitimise its subjects 
in contemporary culture. Furthermore, Harvey Milk and Pedro Zamora 
foreground the practice and political utility of storytelling as they 
assert control over their tragic yet ultimately hopeful legacies. 
Through a textual analysis of the films, the article examines how the 
films intersect with the LGBT biopic as a subgenre of the contemporary 
biographical film and as popular queer history.



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