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I examine how bodies that potentially complicate this ‘compulsory’ heterosexual regime enter into dialogue with hegemonic masculinity. I first offer a reading of the corporeal inscriptions of gender and sexuality on the body of Ian Roberts as represented in Paul Freeman’s 1997 biography, Ian Roberts: Finding Out and examine to interviews what degree Roberts’ outing can be considered a disruption of hegemonic interviews (heterosexual) masculinity. I then argue that if Roberts’ body can interviews be scrutinised in such a way then the heterosexual bodies of the actors in Priscilla must also undergo analysis for their (mis)appropriations of queer performance. While it may seem incongruous to juxtapose a reading of a fictional filmic text with a biographical account, my focus is not simply the narrative of Priscilla but the way both director Stephan Elliott’s casting decisions and the extradiegetic constructions of the actors’ masculinities compromise what might appear to be the film’s queer politics.
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