Derek Jarman is considered the ‘godfather’ of European queer cinema for the strength of his representation of men’s bodies, and also for the exhibition of a peculiar male gaze. In most of his films – from the earlier Sebastiane (1976) to the last ‘lyric film’ The garden (1990) – the director shows «his bold queer erotic vision, and his historical roots in a radical cultural politics – from Gay Liberation to anti-thatcher punk protest to AIDS activism» (Thomas Waugh, 2009). If Sebastiane claims a homoerotic icon for a homosexual historical tradition, The garden draws attention to the martyrdom of Aids and, in a specific way, to the brutal persecution of a couple of gay by a clerical, heteronormative society. His films prove to be a paramount source of fruitful instances to analyse how masculinity is represented, whether its representation contradicts, supports or contrasts with existing ideas/concepts/representations of masculinity. Instances of sexuality, identity, desire and power intermingle can also be retrieved to draw a more complete picture. Jarman's focus on nude, usually one of the most frequent representation of canonical masculinity, is a perfect starting point. Movies are texts semiotically complex, threfore through a multimodal analysis the paper aims to recognize a series of categories of nude, in which the iconoclastic character of Jarman’s masculinity consists, and to put them in relation with the broader debate concerning a possible revision of masculinity representation.
|Titolo:||Perspectives of Nude. Queerness and Masculinity in Derek Jarman|
|Data di pubblicazione:||2018|
|Appare nelle tipologie:||2.1 Contributo in volume (Capitolo o Saggio)|