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Queer Cinema in The World by Karl Schoonover and Rosalind Galt (review)

Queer Cinema in The World by Karl Schoonover and Rosalind Galt (review) Book Reviews QUEER CINEMA IN THE WORLD Karl Schoonover and Rosalind Galt. Durham: Duke University Press, 2016, 408 pp. Queer Cinema in the World stands out among the scope of queer identity. Worldly queer rep­ current queer film scholarship for its global resentations discussed include those hijacked breadth and its determination to spotlight by a Western hegemonic stance attempting to queer narratives transcending Westernized create a one­ size­ fits ­ all “global gay” identity heteronormative and homonormative rhetoric (43), guided by neoliberal and globalizing ide­ and agendas. Authors Karl Schoonover and ologies. Yet over the course of the chapter, the Rosalind Galt open with a thorough reading of authors shift from these “normative represen­ the book title itself, introducing their specific tations to those texts that evade the traps of framework of converging concepts of “queer,” both minoritizing or universalizing discourses” “cinema,” and “in the world.” The authors (78). Examples of the latter are films that pres­ articulate guiding principles for their analysis, ent queer identity as “quotidian” rather than culled from previous scholarship: that cinema conflictual, allowing room for personal/social is a platform for “the politics of globalization” issues beyond the popularized “coming out” to be promoted or http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

Queer Cinema in The World by Karl Schoonover and Rosalind Galt (review)

Journal of Film and Video , Volume 70 (3) – Aug 24, 2018

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Publisher
University of Illinois Press
Copyright
Copyright © 2008 The Board of Trustees of the University of Illinois.
ISSN
1934-6018

Abstract

Book Reviews QUEER CINEMA IN THE WORLD Karl Schoonover and Rosalind Galt. Durham: Duke University Press, 2016, 408 pp. Queer Cinema in the World stands out among the scope of queer identity. Worldly queer rep­ current queer film scholarship for its global resentations discussed include those hijacked breadth and its determination to spotlight by a Western hegemonic stance attempting to queer narratives transcending Westernized create a one­ size­ fits ­ all “global gay” identity heteronormative and homonormative rhetoric (43), guided by neoliberal and globalizing ide­ and agendas. Authors Karl Schoonover and ologies. Yet over the course of the chapter, the Rosalind Galt open with a thorough reading of authors shift from these “normative represen­ the book title itself, introducing their specific tations to those texts that evade the traps of framework of converging concepts of “queer,” both minoritizing or universalizing discourses” “cinema,” and “in the world.” The authors (78). Examples of the latter are films that pres­ articulate guiding principles for their analysis, ent queer identity as “quotidian” rather than culled from previous scholarship: that cinema conflictual, allowing room for personal/social is a platform for “the politics of globalization” issues beyond the popularized “coming out” to be promoted or

Journal

Journal of Film and VideoUniversity of Illinois Press

Published: Aug 24, 2018

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