By Angela Jones
This anthology is a symposium on queer house and queer utopias. throughout the presentation of empirical paintings via modern queer theorists this publication goals to create a serious discussion concerning the emergence of queer areas and the ways that they target to additional queer futurity.
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Extra resources for A Critical Inquiry into Queer Utopias
T HE P L AY WIT HIN T HE F IL M 37 The Bubble’s characters are represented as living under similar circumstances as characters in Bent, with whom they identify. This parallel is made explicit in a discussion between Noam and Ashraf regarding the scene in which Horst tells Max, “It’s my secret. And I have a signal. No one knows it. When I rub my left eyebrow at you, like this . . ”54 Ashraf adopts this gesture in the Tel Aviv battlefield, embodying the citation of the Holocaust as prescribed by Bent.
The characters’ national “sides” emerge from the accumulating signifiers behind their naked bodies, the wall, and the graffiti: Noam. But you know why there are checkpoints? They weren’t always there. Ashraf. Spare me all your propaganda. Forget about politics right now. 1 Left to Right, Ashraf (Yousef Sweid) and Noam (Ohad Knoller), the morning after in The Bubble. Courtesy of Strand Releasing. Upholding Edelman’s rejection of the politicization of queer theory, the characters in the film can perform only a queering of their shared origin without discussing national affiliations.
The legacy of Bent was often reduced to the question of which group of Nazi victims endured worse treatment: homosexual or Jewish prisoners. I thank Jasmine Johnson for provoking me with this term, “oppression olympics,” during a discussion held when we were among the participants of the 2010 Summer Institute in Performance Studies at Northwestern University. 4. Rebecca L. Stein, “Explosive: Scenes from Israel’s Gay Occupation,” GLQ 16, no. 4 (2010), 518. 44 DAVID GORSHE IN 5. , 526. 6. Jill Dolan, “Performance, Utopia, and the ‘Utopian Performative,’” Theatre Journal 53, no.
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