Promiscuidad, familia y docencia
Las tensiones entre disidencia y normalización sexual en Taxi al W.C. de Frank Ripploh
Bibliographic Data
| ID | 21659020 |
|---|---|
| Authors | Atilio Raúl Rubino (0000-0002-4576-5483, Goodyear (United Kingdom), corresponding author) |
| Year | 2020 |
| Issue | 51 |
| Pages | 79-99 |
| Publication date | 2020-11-11 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Secuencias Revista de Historia del Cine (JOURNAL) |
| Journal identifiers | ISSN: 1134-6795 • E-ISSN: 2529-9913 |
| Publisher | Servicio de Publicaciones de la Universidad Autonoma de Madrid (PUBLISHER) |
| DOI | 10.15366/secuencias2020.51.004 |
| OpenAlex | W3104340275 |
| Language | EN |
| References cited | 6 |
I am interested in analyzing the tensions between sexual dissidence and homonormativity in a film that was key to the sexual dissidence in Germany, Taxi zum Klo (1980) by Frank Ripploh. Seeing sexuality in terms of dissidence implies bearing in mind that it always takes place regarding a norm. In the case of the film by Ripploh, it is a norm that belongs to the gay community, an emergent homonormativity. Accordingly, the film shows the ways of life that can be lived in a 1980s Schwul and the intelligible —thus, heinous— ways of life. The double life of Ripploh’s autofictional character, who leads an intimate life as a promiscuous homosexual and a social life as a schoolteacher, become even more complex in a triple life: schoolteacher, promiscuous Schwul and monogamous gay man. Ripploh’s film shows a series of dissident and promiscuous practices, and it does so in an explicit manner: public restrooms, saunas, cinemas, the exhibition of the bodies, BDSM, golden shower, pornography, children’s sexual desire. These practices are put into tension with a budding connection between dissident promiscuity and the possible contagion of diseases, which comes ahead of time from the HIV/AIDS crisis and the biopolitical use of the disease. This way, following Deleuze and Guattari, we can redefine the idea of disease in order to think of vampirical contagion as a monstrous-dissident transmission that is opposed to family filiation. Therefore, the public coming-out by the character as well as by the director/main character/screenwriter himself can be seen as a dissident contagion that —unlike family filiation— counteracts the production of the Integrated World Hetero-Capitalistic normality
Art · Humanities · Cinema History and Criticism · Gender, Feminism, and Media · Utopian, Dystopian, and Speculative Fiction
| Highly cited | No |
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