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His youth, as well as his class and racial status, clearly mark him as a socially subordinate figure; no doubt Felicia's choice of this "improper object" for a lover enrages Fred Beacon all the more
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Haynes underlines this point in a telling scene in which Greg's boss, with whom Greg and Carol have gone out for dinner, tells a dirty joke to his captive audience about a "shapely blonde
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The image of his disembodied hand in this second point-of-view shot quite clearly echoes the opening scene of "Homo
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Camera Obscura tion between two key problematics, each of which approaches the issue of abjection from a different angle. The ï¬rst concerns the performative resources provided by the condition of abjection or rejection by the social order at large. Jack Fairyâs tactics of resigniï¬cation, for example, unmistakably recall the performative strategies adopted by the outcast characters in Haynesâs earlier ï¬lm, Poison (US, 1991). Based on the autobiographical novels of Jean Genet,1 and intercutting three different narratives rendered in three distinct visual modes, Poison introduces us to a host of marginal ï¬gures who, in masochistically embracing their abjection, ascend (or perhaps one should say descend) into Genetian sainthood. The second problematic to which Haynesâs ï¬lms repeatedly return concerns the psychosomatic costs of a too-forceful repudiation of the abject, or of the constitutive exclusions that are a precondition for the achievement of normative femininity. Safe (US/UK, 1995) and Far from Heaven, for instance, take up the cinematic conventions associated with the maternal melodrama (the former in a much quieter way than the latter, to be sure) in order to foreground that which cannot be accommodated within the bounds of bourgeois domesticity â life-threatening illness and racial and sexual otherness. In
Camera Obscura – Duke University Press
Published: Jan 1, 2004
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