Despite their relatively long and successful course in the history of Greek private television, reality shows are generally cast under negative light. Given their engagement with topics pertaining more strictly to the private domain, TV realities have at different times been criticised as vulgar, superficial, and ‘low’ quality products (Deery, 2015; Hill, 2005; Lumby, 2003; Weber, 2014). Inspired by the feminist research tradition’s interest in audience studies and queer critical approaches to affect and minor aesthetic categories (Reid, 2022), this article explores how five queer women make sense of the Greek version of the popular reality show, The Bachelor (ALPHA, 2021-2022). Drawing on Sara Ahmed’s theory of (dis)orientation (2006), the article highlights the female viewers’ sense of empowerment, escapist fantasy, (dis)pleasures and frustrations as they relate with the text. Through disidentification (Muñoz, 1999), namely, these instances during which queer women viewers identify partially, conditionally and contingently—with dominant identities, discourses and ideologies endemic within the reality show, the paper unravels the complex dynamic of media consumption as well as guilty pleasure’s association with criticality and skepticism, tethered to the viewers’ taste, life experiences, and values.
{"title":"(Guilty) Viewing Pleasures and Reality TV: Queer Viewers Decoding the Greek Version of The Bachelor","authors":"Spyridon Chairetis","doi":"10.15664/fcj.v20i0.2509","DOIUrl":"https://doi.org/10.15664/fcj.v20i0.2509","url":null,"abstract":"Despite their relatively long and successful course in the history of Greek private television, reality shows are generally cast under negative light. Given their engagement with topics pertaining more strictly to the private domain, TV realities have at different times been criticised as vulgar, superficial, and ‘low’ quality products (Deery, 2015; Hill, 2005; Lumby, 2003; Weber, 2014). Inspired by the feminist research tradition’s interest in audience studies and queer critical approaches to affect and minor aesthetic categories (Reid, 2022), this article explores how five queer women make sense of the Greek version of the popular reality show, The Bachelor (ALPHA, 2021-2022). Drawing on Sara Ahmed’s theory of (dis)orientation (2006), the article highlights the female viewers’ sense of empowerment, escapist fantasy, (dis)pleasures and frustrations as they relate with the text. Through disidentification (Muñoz, 1999), namely, these instances during which queer women viewers identify partially, conditionally and contingently—with dominant identities, discourses and ideologies endemic within the reality show, the paper unravels the complex dynamic of media consumption as well as guilty pleasure’s association with criticality and skepticism, tethered to the viewers’ taste, life experiences, and values. \u0000 ","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132272674","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"‘Text-Praxis’ and Modes of Production: Harun Farocki’s Collected Writing Between 1964 and 2000","authors":"L. Lux","doi":"10.15664/fcj.v20i0.2500","DOIUrl":"https://doi.org/10.15664/fcj.v20i0.2500","url":null,"abstract":"","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122735832","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Showgirls (1995) was a high-budget, high-concept Hollywood movie that immediately bombed at the box office. Despised by audiences and critics, Showgirls later found an appreciative audience through late-night cult screenings in cinemas, drag shows, and in academic discourse on trash cinema. Considered lowbrow and sleazy due to its abundance of female nudity, Showgirls is reconsidered in this article. With its hyper-stylised format, considered visual construction, and campy performances, Showgirls, perhaps inadvertently, allows space for a queer female subjectivity through main character Nomi Malone (Elizabeth Berkeley); a complicated woman who embodies an intersection of gendered, sexual and classist oppressions that are archetypal of the fallen woman melodrama of classical Hollywood. By queering Nomi’s journey through the heteropatriarchy that is the Las Vegas showgirl scene, this article identifies themes of narcissism and doubling that enable Nomi to construct her phallic public performance of female sexuality when she is on the stage, in order to protect a tender, loving, yet naïve inner self that emerges with close interactions with her best (girl) friend Molly (Gina Ravera). Nomi’s sexualised stage-self -reflected and thrown back at her through omnipresent mirrors - reveals the sacrifices she must make to reach for her dreams but also to protect her fragile, yet expansive capacity for loving other women. Showgirls unveils the complex struggle for empowerment that women face in patriarchal societies yet, unsurprisingly, perhaps this narrative journey was instrumental in the film’s box office failure and categorisation into trash cinema.
{"title":"“Nomi Malone is what Las Vegas is all about!”: Phallic women in Showgirls","authors":"Elizabeth Hendy","doi":"10.15664/fcj.v20i0.2517","DOIUrl":"https://doi.org/10.15664/fcj.v20i0.2517","url":null,"abstract":"Showgirls (1995) was a high-budget, high-concept Hollywood movie that immediately bombed at the box office. Despised by audiences and critics, Showgirls later found an appreciative audience through late-night cult screenings in cinemas, drag shows, and in academic discourse on trash cinema. Considered lowbrow and sleazy due to its abundance of female nudity, Showgirls is reconsidered in this article. With its hyper-stylised format, considered visual construction, and campy performances, Showgirls, perhaps inadvertently, allows space for a queer female subjectivity through main character Nomi Malone (Elizabeth Berkeley); a complicated woman who embodies an intersection of gendered, sexual and classist oppressions that are archetypal of the fallen woman melodrama of classical Hollywood. \u0000By queering Nomi’s journey through the heteropatriarchy that is the Las Vegas showgirl scene, this article identifies themes of narcissism and doubling that enable Nomi to construct her phallic public performance of female sexuality when she is on the stage, in order to protect a tender, loving, yet naïve inner self that emerges with close interactions with her best (girl) friend Molly (Gina Ravera). Nomi’s sexualised stage-self -reflected and thrown back at her through omnipresent mirrors - reveals the sacrifices she must make to reach for her dreams but also to protect her fragile, yet expansive capacity for loving other women. Showgirls unveils the complex struggle for empowerment that women face in patriarchal societies yet, unsurprisingly, perhaps this narrative journey was instrumental in the film’s box office failure and categorisation into trash cinema.","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130121461","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Queer representation in media often relies on a limited perspective built around identity visibility. Who or what is this made to serve? As with the unhappy queer archives Sara Ahmed explores in The Promise of Happiness, queerness is rendered as a surface level struggle for legitimacy in society and relationships, that far too often ends in melancholy or despair. While non-queer audiences indulge in a temporary alignment with a vicarious interpretation of queer experience, the queer audience is presented with an often melancholic or distressing representation of our racist, hetero-patriarchal, neoliberal capitalist present. Working within western canons assembled through the fetishising of liberal rationality, to be outside the scope of the liberal human subject is a wide and deep realm of the undefined and unknown. This is the home of speculative fiction and where the sprouts of popular media were seeded. The gothic, horror, and science fiction grew out of the artistic impulses that clash at the borderlands between the rational and irrational, known and unknown, subject and object, human and queer. The twisting meeting places of horror and queerness is experienced best within queer treatments of horror. A close reading of the queer emotional affects in the queer media products The Rocky Horror Picture Show’s “Floor Show” sequence and Hazbin Hotel’s music video “Addict,” demonstrates that queer representation is inclusively produced through emotional affects most visible in horror. Furthermore, the gothic and horror pastiche at work within these two particular segments shows Jack Halberstam’s low theory in action.
{"title":"Emotional Registers of Queer Representation: Gothic Expression in The Rocky Horror Picture Show and Vivienne Medrano’s “Addict”","authors":"J. Francis","doi":"10.15664/fcj.v20i0.2512","DOIUrl":"https://doi.org/10.15664/fcj.v20i0.2512","url":null,"abstract":"Queer representation in media often relies on a limited perspective built around identity visibility. Who or what is this made to serve? As with the unhappy queer archives Sara Ahmed explores in The Promise of Happiness, queerness is rendered as a surface level struggle for legitimacy in society and relationships, that far too often ends in melancholy or despair. While non-queer audiences indulge in a temporary alignment with a vicarious interpretation of queer experience, the queer audience is presented with an often melancholic or distressing representation of our racist, hetero-patriarchal, neoliberal capitalist present. Working within western canons assembled through the fetishising of liberal rationality, to be outside the scope of the liberal human subject is a wide and deep realm of the undefined and unknown. This is the home of speculative fiction and where the sprouts of popular media were seeded. The gothic, horror, and science fiction grew out of the artistic impulses that clash at the borderlands between the rational and irrational, known and unknown, subject and object, human and queer. \u0000The twisting meeting places of horror and queerness is experienced best within queer treatments of horror. A close reading of the queer emotional affects in the queer media products The Rocky Horror Picture Show’s “Floor Show” sequence and Hazbin Hotel’s music video “Addict,” demonstrates that queer representation is inclusively produced through emotional affects most visible in horror. Furthermore, the gothic and horror pastiche at work within these two particular segments shows Jack Halberstam’s low theory in action.","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133168069","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review: Efrén Cuevas, Filming History from Below: Microhistorical Documentaries","authors":"Stuart A. Neave","doi":"10.15664/fcj.v20i0.2503","DOIUrl":"https://doi.org/10.15664/fcj.v20i0.2503","url":null,"abstract":"","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125167303","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1993, the group LSD (Lesbianas sin duda / Lesbians without a doubt) was created in Madrid. It was a collective of artivists including Itziar Okariz Virginia Villaplana, Fefa Vila, Azucena Vietes, Marisa Maza, and Liliana Couso, among others. They met in the downtown neighbourhood of Lavapiés to publish magazines and fanzines such as Bollozine or Non Grata, dedicated to film, music, photography, and the Spanish queer art scene overall. In addition, they carried out two photographic projects that are already part of the national lesbian imaginary: Es-Cultura lesbiana and Monstruosidades. This collective, which uses artistic channels for activism, takes a model of a community that is no longer a conqueror of rights (liberalism) but rather a destroyer of all aspects of a hierarchical society. Queer activism is located at the margins of representation, understood as “an abject margin full of monsters, in which race, class and sex are mixed, ready to come to light and destabilize the dominant discourses" (García, 2016, p. 162). Violence is no longer understood individually but within a social structure. Some of these artists later continued their careers with video actions and performances in public places, exposing their bodies and thus problematising their gender and sexual orientation, as several of them contributed to the visibility of lesbians in Spain at the turn of the century. This article analyses the photographic and collage work of the Spanish lesbian collective LSD, taking as object of study the video essay Retroalimentación (1998), made by the LSD member Virginia Villaplana.
1993年，LSD乐队(Lesbianas sin duda / Lesbians without a doubt)在马德里成立。这是一个艺术家的集体，包括Itziar Okariz Virginia Villaplana, Fefa Vila, Azucena Vietes, Marisa Maza和Liliana Couso等人。他们在市中心的拉瓦皮萨梅斯社区见面，出版杂志和粉丝杂志，如《Bollozine》或《Non Grata》，致力于电影、音乐、摄影和西班牙的酷儿艺术场景。此外，她们还进行了两个摄影项目:Es-Cultura lesbiana和Monstruosidades，这两个项目已经成为全国女同性恋想象的一部分。这个利用艺术渠道进行行动主义的集体，采用了一个社区的模式，这个社区不再是权利的征服者(自由主义)，而是等级社会所有方面的破坏者。酷儿行动主义位于代表性的边缘，被理解为“一个充满怪物的卑鄙边缘，种族，阶级和性别混合在一起，准备暴露并破坏主导话语的稳定”(García, 2016, p. 162)。暴力不再是单独理解的，而是在社会结构中理解的。这些艺术家中的一些人后来继续他们的职业生涯，在公共场所进行录像行动和表演，暴露他们的身体，从而使他们的性别和性取向成为问题，因为他们中的一些人在世纪之交为西班牙女同性恋者的知名度做出了贡献。本文分析了西班牙女同性恋集体LSD的摄影和拼贴作品，并以LSD成员Virginia Villaplana制作的视频文章Retroalimentación(1998)为研究对象。
{"title":"The Spanish Lesbian Collective LSD: A Closer Look to Their Video-Essay Retroalimentación (1998)","authors":"Esther Pérez Nieto","doi":"10.15664/fcj.v20i0.2518","DOIUrl":"https://doi.org/10.15664/fcj.v20i0.2518","url":null,"abstract":"In 1993, the group LSD (Lesbianas sin duda / Lesbians without a doubt) was created in Madrid. It was a collective of artivists including Itziar Okariz Virginia Villaplana, Fefa Vila, Azucena Vietes, Marisa Maza, and Liliana Couso, among others. They met in the downtown neighbourhood of Lavapiés to publish magazines and fanzines such as Bollozine or Non Grata, dedicated to film, music, photography, and the Spanish queer art scene overall. In addition, they carried out two photographic projects that are already part of the national lesbian imaginary: Es-Cultura lesbiana and Monstruosidades. This collective, which uses artistic channels for activism, takes a model of a community that is no longer a conqueror of rights (liberalism) but rather a destroyer of all aspects of a hierarchical society. \u0000Queer activism is located at the margins of representation, understood as “an abject margin full of monsters, in which race, class and sex are mixed, ready to come to light and destabilize the dominant discourses\" (García, 2016, p. 162). Violence is no longer understood individually but within a social structure. Some of these artists later continued their careers with video actions and performances in public places, exposing their bodies and thus problematising their gender and sexual orientation, as several of them contributed to the visibility of lesbians in Spain at the turn of the century. \u0000This article analyses the photographic and collage work of the Spanish lesbian collective LSD, taking as object of study the video essay Retroalimentación (1998), made by the LSD member Virginia Villaplana.","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125635110","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A preface with promise: revisiting Film Curatorship: Archives, Museums, and the Digital Marketplace","authors":"Anushrut Ramakrishan Agrwaal","doi":"10.15664/fcj.v19i0.2401","DOIUrl":"https://doi.org/10.15664/fcj.v19i0.2401","url":null,"abstract":"","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126607228","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review: Jaimie Baron, Reuse, Misuse, Abuse: The Ethics of Audiovisual Appropriation in the Digital Era","authors":"Lucia Szemetová","doi":"10.15664/fcj.v19i0.2399","DOIUrl":"https://doi.org/10.15664/fcj.v19i0.2399","url":null,"abstract":"","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121923737","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Lucia Szemetová, J. Browne, Anushrut Ramakrishan Agrwaal
{"title":"Letter from the Editors","authors":"Lucia Szemetová, J. Browne, Anushrut Ramakrishan Agrwaal","doi":"10.15664/fcj.v19i0.2402","DOIUrl":"https://doi.org/10.15664/fcj.v19i0.2402","url":null,"abstract":"","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"31 1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126169920","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review: Justin Remes, Absence in Cinema: The Art of Showing Nothing","authors":"J. Browne","doi":"10.15664/fcj.v19i0.2398","DOIUrl":"https://doi.org/10.15664/fcj.v19i0.2398","url":null,"abstract":"","PeriodicalId":423883,"journal":{"name":"Frames Cinema Journal","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114819045","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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