By Maria San Filippo
Often disguised in public discourse by means of phrases like "gay," "homoerotic," "homosocial," or "queer," bisexuality is unusually absent from queer reviews and almost untreated in movie and media feedback. Maria San Filippo goals to discover the vital position bisexuality performs in modern monitor tradition, developing its significance in illustration, advertising, and spectatorship. through interpreting various media genres together with artwork cinema, sexploitation cinema and vampire movies, "bromances," and sequence tv, San Filippo discovers "missed moments" the place bisexual readings of those texts demonstrate a extra malleable thought of subjectivity and eroticism. San Filippo's paintings strikes past the topic of heteronormativity and responds to "compulsory monosexuality," the place it is not unavoidably a couple's gender that's at factor, yet relatively that somebody chooses one or the opposite. The B note transcends dominant relational formation (gay, directly, or in a different way) and brings a discursive voice to the sphere of queer and movie studies.
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Additional info for The B Word: Bisexuality in Contemporary Film and Television
Sample text
Lucia (Lisa Kudrow): Please. I went to a bar mitzvah once. That doesn’t make me Jewish. The Opposite of Sex (Don Roos, 1998) The genealogy of bisexuality dates from the late nineteenth century, and emanates largely from the fields of psychology (Wilhelm Fliess, Sigmund Freud, Fritz Klein, Juliet Mitchell, Jacqueline Rose), sexology (Havelock Ellis, Alfred C. Kinsey, Richard von Krafft-Ebing, Wilhelm Stekel), and sociology (Margaret Mead, Paula C. Rust, Charlotte Wolff), and from the perspective of sexual identity politics (Amber Ault, Jo Eadie, Amanda Udis-Kessler).
Karen (Meryl Streep): I love you too. ” Karen: I know that’s not what you mean. That’s what I mean. With this brief and veiled exchange, occurring fairly early in the film, the narrative closes down any possibility that Karen might be anything other than heterosexual, and simultaneously consigns Dolly to the “tragic lesbian” status she will occupy throughout. Silkwood’s resistance to considering the possibility of eroticism between these women typifies the disinclination on the part of both filmmakers and audiences that arises from Western modernity’s clear division between the heterosexual and the homosexual, and between the homosexual and the homosocial.
As recently as 2005, Dr. J. 27 Within accounts by those self-identifying as bisexual, there is considerable var iation with regard to the importance (or lack thereof) that gendered object choice holds for determining desire and sexual subjectivity. As Kathleen Bennett describes: Some bisexuals say they are blind to the gender of their potential lovers and that they love people as people; others are aware of differences between their male and female partners but are able to be attracted to each in different (but overlapping) ways.