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New Queer Images

Representations of Homosexualities in Contemporary Francophone Visual Cultures


Edited By Florian Grandena and Cristina Johnston

Since the early 1980s, there has been a dramatic increase in the number of international gay/lesbian-themed visual productions, ranging from pornographic images and television programmes to advertising and graphic novels. Often originating from countries with a multicultural tradition (most notably Great Britain and the United States), this cultural phenomenon has now reached many territories, including the French-speaking world.
What are the thematic and aesthetic convergences/divergences of such visual productions? Do such works develop problematics and approaches specific to areas such as metropolitan France or French-speaking Canada? The eleven essays included in this collection (two in English and nine in French) aim to answer these questions by offering in-depth and challenging discussions of various queer-themed visual productions made in a contemporary Francophone context. Each contribution focuses on specific case studies drawn from auteur, pornographic and experimental cinemas, as well as those based on analyses of images from television, printed media and contemporary art.


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Part 2 - Small Screens and Stage Performance -85


Part 2 Small Screens and Stage Performance Jean-Baptiste Chantoiseau L’Homosexualité à saturation ? L’expérience identitaire et esthétique de la série Courts mais gay (2001–2007) Il est aujourd’hui facile de trouver en nombre, livres, magazines, séries télé- visuelles ou films qui revendiquent leur appartenance à une culture dite « gay et lesbienne ». Leur existence témoigne de l’ampleur du chemin par- couru par le mouvement de libération homosexuelle depuis les années 1970. Comme le rappelle Daniel Harris, dans The Rise and Fall of Gay Culture (1997, 240) : « (f )ar from romanticizing their minority status as a colorful ethnic identity, early gay liberationists exhibited very little of what is now such a key provision of the activist’s agenda that it is almost impossible to imagine a gay right movement without it: « gay pride » ».1 La vitalité des « fictions gays et lesbiennes » s’avère d’autant plus réjouissante que ces dernières ont mis du temps avant de pouvoir exister. Richard Dyer (2003 [1990], 1) note ainsi que si l’on compte par centaines les films montrant des personnages homosexuels, plus rares, en revanche, sont les créations audiovisuelles faites par des gays ou des lesbiennes et qui abordent, direc- tement, des thématiques identitaires dites « communautaires ». Pendant des décennies, l’homosexualité, dans les cultures audiovisuel- les occidentales, a été souvent mise en scène d’une manière détournée ou caricaturale. Un moyen discret, pour ne pas dire invisible, de montrer des personnages gays au cinéma...

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