A Queer Feeling When I Look at You”
Gender and Sexuality in Three Films by George Cukor
Datos Bibliográficos
| ID | 12759607 |
|---|---|
| Autores | Elyce Rae Helford (autor de correspondencia) |
| Año | 2007 |
| Volumen | 7 |
| Número | 1-2 |
| Páginas | 89-112 |
| Fecha de publicación | 2007-01-01 |
| Peer Reviewed | Sí |
| Open Access | No |
| Tipo | ARTICLE |
| Revista | Journal of Bisexuality (JOURNAL) |
| Identificadores de la revista | ISSN: 1529-9716 • E-ISSN: 1529-9724 |
| Editorial | Taylor & Francis (PUBLISHER • GB) |
| DOI | 10.1300/j159v07n01_06 |
| OpenAlex | W2274034738 |
| Idioma | EN |
| Citas recibidas | 3 |
| Referencias citadas | 4 |
In three classic Hollywood romantic comedies by openly gay director George Cukor and starring Katharine Hepburn and Cary Grant, we find constellations of non-traditional performances of gender and sexual orientation. Sylvia Scarlett (1935), Holiday (1938), and The Philadelphia Story (1940) offer both overt and subtle resistance to monogamous, heteronormative relationship structures through bisexual and other queerly configured romantic triangles. These three films share historical closeness, the pairing of two actors known for their highly gender-typed performances, and relationship triangles centered on a secondary male character that models an alternative gender/sexuality and thereby heightens the bisexual and queer implications of the text
Aesthetics · Art · Art history · Character (mathematics · Closeness · Feeling · Heteronormativity · Hollywood · Human sexuality · Psychoanalysis · Queer · Resistance (ecology · Romance · Sexual orientation · Sociology · Cinema and Media Studies · Gender Studies · Psychology · Sexuality, Behavior, and Technology · Shakespeare, Adaptation, and Literary Criticism · Social Psychology
| Obras citantes distintas | 3 |
|---|---|
| Citas por año | 0,2 |
| Intervalo de citas | 2011 - 2025 (15) |
| Velocidad de citación | recent |
| Altamente citado | No |
| Tipos de cita | Neutras: 3 |