MasterBlog: I See Gay People

The specter of lesbianism stalks the periphery of These Three (1936) at every turn. Even though this adaptation of the overtly lesbian dramatic novel The Children’s Hour was actually adapted for the screen by the original writer Lillian Hellman, the resulting film stands more as a compelling example of the ham-handed Hays Code than a completely viable text. The character Joe becomes an embodiment of suppression, a substitute for female/female sexuality, a corporeal form behind with the true theme of lesbian love and struggle hides in plain sight. Watching this film is such a strange experience, especially for one familiar with the source material. I could liken it to eating a cake that was made with a cup of salt instead of a cup of sugar, and telling yourself with every bite that the saltiness is SUPPOSED to represent sweetness. As “unnamed and invisible” as lesbian romance and sexuality is in the Code, it finds a weird kind of vitality when male sexual mores attempt to define it, refine it, or erase it. Foucault also touches on this sort of self-defeating mechanism of sexual repression as an act of tamping down “useless energies and the intensity of pleasure.”

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MasterBlog: The Black Female Subject

I find that Foucault’s characterization of the Panopticon – the surveillance-based system of imprisonment and self-discipline originally postulated┬áby Jeremy Bentham – can be applied in a million fascinating ways to film analysis. Panopticism, essentially, ensures that a subject is constantly contained in a state of paranoia and behavioral self-regulation as she can never be sure if she is being watched and/or measured up for some kind of punishment by the authority (sometimes the state apparatus).

The black female subject often operates under a kind of cultural panopticism. Her body, as a site of intersection between racial and gender identity, is under scrutiny; however, as a subject, she is hard-pressed to find a context in which she may hold the power of the gaze (or indeed even find a media representation of herself which removes the specters of patriarchy and white supremacy, and allows her a complex, private internal world).

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