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Hugo Weaving’s general popularity means, according to Elliott, that he can do just about anything with the approval of the movie-going public. It is clear then that Elliott’s own reading of the (hetero)sexual coding of these men’s bodies was clearly one of the primary determining factors in his casting decisions.39 ‘A Really Nice Opportunity’: (Mis)appropriating Queer Performance copyvio Certainly in its revisioning of the ‘road movie’ genre, as well as its ingenious positioning of the feathers and sequins of the drag queens atop the stark red earth of the copyvio Northern Territory, Elliott’s film makes a compelling claim to a place for ‘other’ sexualities and alternative gender performances within Australian national discourse. However, taking into account the heterosexual coding of the bodies that are placed in this position, what other textual possibilities might be presented by Elliott’s film? How might Priscilla be read through the frame of a heterosexual masculinity? In Vested Interests Marjorie Garber suggests that ‘one of the most important aspects of cross-dressing is the way in which it offers a challenge to easy notions of binarity, putting into question the categories of “female” and “male”’.40
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