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 booklet goals to create a severe discussion in regards to the emergence of queer areas and the ways that they target to additional queer futurity.
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Additional info for A Critical Inquiry into Queer Utopias
The scene from Bent that is featured as The Bubble’s climactic moment of “liveness” is precipitated by a live moment nodding to an earlier gay icon. Noam and Ashraf receive an invitation to the theater at a cabaret performance by “out” musician Ivri Lider. In a Tel Aviv bar, Lider covers George and Ira Gershwin’s standard “The Man I Love” (1924). 43 The Israeli cabaret performance appropriates the canonical object as it builds on established codes of American gay culture. 44 Lider sings, I know I shall meet him Sunday, maybe Monday, maybe not.
Still, in a utopia, there are no dress rehearsals. The show must go on. Notes 1. Sarah Schulman, Stagestruck: Theater, AIDS, and the Marketing of Gay America (Durham: Duke University Press, 2008), 91. 2. Robin Bernstein, Foreword to Cast Out: Queer Lives in Theater (Ann Arbor: University of Michigan Press, 2006), vii. 3. 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.
The utopia emerges in Tel Aviv, then, only to the extent that queerness makes the other invisible. ”23 The Bubble ignores the political implications of this invisibility. Noam disidentifies with remarkable ease, exhibiting little tension at the intersection of queer and Israeli identification. In the “other” national context, Ashraf must stay closeted in the Arab village, fearing for his life. 24 In the important book Identity Politics on the Israeli Screen, scholar Yosefa Loshitzky analyzes the theme of forbidden love pervasive in Israeli films, an archetypal trope borrowed from the likes of Romeo & Juliet and Pygmalion.