Please use this identifier to cite or link to this item: https://hdl.handle.net/1959.11/13570
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dc.contributor.authorPotter, Susanen
dc.date.accessioned2013-10-18T11:20:00Z-
dc.date.issued2011-
dc.identifier.citationScreen, 52(4), p. 442-460en
dc.identifier.issn1460-2474en
dc.identifier.issn0036-9543en
dc.identifier.urihttps://hdl.handle.net/1959.11/13570-
dc.description.abstractDorothy Arzner's 'The Wild Party' (1929) has been reclaimed for a lesbian cinematic canon, but it is only relatively recently that scholars have engaged more directly with the homoerotics of Arzner's films, and the question of the representability of female homosexuality in late 1920s Hollywood classical cinema. This essay frames its engagement with these concerns in terms of 'The Wild Party's generic history. Often claimed as instituting a new lesbian genre, the all-female college film, 'The Wild Party's innovations can be more persuasively traced to its subtle transformation of an older, nearly exhausted genre: the flapper film. Expanding the film's generic antecedents to consider the flapper as a discursive figure of 1920s American culture, I situate 'The Wild Party' within developing modern female kinaesthetics and spectatorships, during a period in which Hollywood was also systematizing its commodification of femininity and the production of heterosexual romance narratives. If, as Patricia White has convincingly claimed, the representation of female homosexuality in Hollywood film is more often veiled by 'the public sexualization of the female body', then in the case of 'The Wild Party' it is the excessively feminine and kinetic bodies of the flapper that screen - that is, both project and hide from view - lesbian desire as a new form of cinematic knowledge and pleasure. Rather than isolating certain scenes for their lesbian subtext or their resistance to a contemporary pathologized lesbian reading, I argue that the sexual intelligibility of such scenes is inseparable from the kinetic aesthetics of the flapper that Arzner harnesses to organisze the film's visual schema.en
dc.languageenen
dc.publisherOxford University Pressen
dc.relation.ispartofScreenen
dc.titleMobilizing lesbian desire: the sexual kinaesthetics of Dorothy Arzner's 'The Wild Party'en
dc.typeJournal Articleen
dc.identifier.doi10.1093/screen/hjr036en
dc.subject.keywordsScreen and Media Cultureen
dc.subject.keywordsCinema Studiesen
local.contributor.firstnameSusanen
local.subject.for2008200212 Screen and Media Cultureen
local.subject.for2008190201 Cinema Studiesen
local.subject.seo2008970120 Expanding Knowledge in Language, Communication and Cultureen
local.profile.schoolSchool of Artsen
local.profile.emailspotter7@une.edu.auen
local.output.categoryC1en
local.record.placeauen
local.record.institutionUniversity of New Englanden
local.identifier.epublicationsrecordune-20131015-114513en
local.publisher.placeUnited Kingdomen
local.format.startpage442en
local.format.endpage460en
local.peerreviewedYesen
local.identifier.volume52en
local.identifier.issue4en
local.title.subtitlethe sexual kinaesthetics of Dorothy Arzner's 'The Wild Party'en
local.contributor.lastnamePotteren
dc.identifier.staffune-id:spotter7en
local.profile.roleauthoren
local.identifier.unepublicationidune:13782en
dc.identifier.academiclevelAcademicen
local.title.maintitleMobilizing lesbian desireen
local.output.categorydescriptionC1 Refereed Article in a Scholarly Journalen
local.relation.urlhttp://screen.oxfordjournals.org/cgi/reprint/hjr036?ijkey=e1Q1cm4Aa5VBMjw&keytype=refen
local.search.authorPotter, Susanen
local.uneassociationUnknownen
local.year.published2011en
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