Abstract
The TV musical Gotta Have Heart (1997) portrays a love triangle among two men and one woman, located within a musical spectacle, and challenging conventional formulations of gender, sex, and sexualities. Synthesizing American, European, and Israeli imageries of the past—particularly 1950s and 1970s memorabilia, Israeli folk dances, and Eurovision song contests—this Israeli musical generates hybrid visualizations, integrating Israeli mainstream culture and queer imageries. Rather than merely producing a simulacrum of past decades, however, this synthetic utopia rewrites the Israeli masculinity and effeminates the cultural national agenda in regard to the politics of effeminacy, sissyness, and sissyphobia both outside and, particularly, inside the Israeli gay community. This article also examines the female protagonist's positioning in this TV musical as concomitantly a fag hag, a reified diva, and—in her ironic, reflexive performance—a young straight woman yearning for a big-hearted husband and family.Preview Only. This article cannot be rented because we do not currently have permission from the publisher.
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