From Europe with Pride: Heritage, Community and Queer Moves
This paper takes Pride (2014) as a focal point for a discussion of a popular European cinema that looks back on key moments in the twentieth-century political past(s) through the re-enactment of queer scenarios of activism and resistance. My contention is that, as significant as identity politics is...
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| Format: | Article |
| Language: | English |
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Open Library of Humanities
2019-03-01
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| Series: | Open Library of Humanities |
| Online Access: | https://olh.openlibhums.org/article/id/4557/ |
| _version_ | 1819277213251403776 |
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| author | Belén Vidal |
| author_facet | Belén Vidal |
| author_sort | Belén Vidal |
| collection | DOAJ |
| description | This paper takes Pride (2014) as a focal point for a discussion of a popular European cinema that looks back on key moments in the twentieth-century political past(s) through the re-enactment of queer scenarios of activism and resistance. My contention is that, as significant as identity politics is the notion of movement itself. Pride’s intersectional retro-politics injects queer moves into heritage cinema, literally including musical moments of (camp) dance and song that dislodge characters from constraining social spaces and sedimented subjectivities. I look at Pride alongside other examples of new heritage filmmaking through their use of the movement-image (Deleuze) to retrieve the memory of political moments in history through queer moves. Encounters set to music underscore the road trip of a Swiss feminist journalist and her team of radio broadcasters adrift in the Portuguese Carnation Revolution in Les Grandes Ondes (à l’ouest)/Longwave (2013); out-of-step punk musical performances punctuate a queer coming-of-age girl narrative set in the 1980s in El Calentito (2005); dance scenes of queer female eroticism derail heteronormative trajectories of marriage and family in Anni felici/Those Happy Years (2013) and La Belle saison/Summertime (2015), two stories that intersect with the international women’s liberation movement in the 1970s. These films suggest a European heritage cinema as interzone (Randall Halle, 2014). I explore the ways in which these films eschew nostalgia via the stress on movement, queer performativity and the possibility of (not yet formed) communities. By retrieving Pride in (and for) a broader European cinematic context, this paper makes a move towards a reading of the film’s intersectional politics as a timely response to the incompleteness of the European social project of integration. |
| first_indexed | 2024-12-23T23:52:32Z |
| format | Article |
| id | doaj.art-335a2a28475442a894d0f2eaecbc1bbd |
| institution | Directory Open Access Journal |
| issn | 2056-6700 |
| language | English |
| last_indexed | 2024-12-23T23:52:32Z |
| publishDate | 2019-03-01 |
| publisher | Open Library of Humanities |
| record_format | Article |
| series | Open Library of Humanities |
| spelling | doaj.art-335a2a28475442a894d0f2eaecbc1bbd2022-12-21T17:25:20ZengOpen Library of HumanitiesOpen Library of Humanities2056-67002019-03-015110.16995/olh.386From Europe with Pride: Heritage, Community and Queer MovesBelén Vidal0 This paper takes Pride (2014) as a focal point for a discussion of a popular European cinema that looks back on key moments in the twentieth-century political past(s) through the re-enactment of queer scenarios of activism and resistance. My contention is that, as significant as identity politics is the notion of movement itself. Pride’s intersectional retro-politics injects queer moves into heritage cinema, literally including musical moments of (camp) dance and song that dislodge characters from constraining social spaces and sedimented subjectivities. I look at Pride alongside other examples of new heritage filmmaking through their use of the movement-image (Deleuze) to retrieve the memory of political moments in history through queer moves. Encounters set to music underscore the road trip of a Swiss feminist journalist and her team of radio broadcasters adrift in the Portuguese Carnation Revolution in Les Grandes Ondes (à l’ouest)/Longwave (2013); out-of-step punk musical performances punctuate a queer coming-of-age girl narrative set in the 1980s in El Calentito (2005); dance scenes of queer female eroticism derail heteronormative trajectories of marriage and family in Anni felici/Those Happy Years (2013) and La Belle saison/Summertime (2015), two stories that intersect with the international women’s liberation movement in the 1970s. These films suggest a European heritage cinema as interzone (Randall Halle, 2014). I explore the ways in which these films eschew nostalgia via the stress on movement, queer performativity and the possibility of (not yet formed) communities. By retrieving Pride in (and for) a broader European cinematic context, this paper makes a move towards a reading of the film’s intersectional politics as a timely response to the incompleteness of the European social project of integration.https://olh.openlibhums.org/article/id/4557/ |
| spellingShingle | Belén Vidal From Europe with Pride: Heritage, Community and Queer Moves Open Library of Humanities |
| title | From Europe with Pride: Heritage, Community and Queer Moves |
| title_full | From Europe with Pride: Heritage, Community and Queer Moves |
| title_fullStr | From Europe with Pride: Heritage, Community and Queer Moves |
| title_full_unstemmed | From Europe with Pride: Heritage, Community and Queer Moves |
| title_short | From Europe with Pride: Heritage, Community and Queer Moves |
| title_sort | from europe with pride heritage community and queer moves |
| url | https://olh.openlibhums.org/article/id/4557/ |
| work_keys_str_mv | AT belenvidal fromeuropewithprideheritagecommunityandqueermoves |