FEMINILIDADE E TRAVESTISMO EM UM FILME HOLLYWOODIANO DA DÉCADA DE 1950

Nesse artigo, interessa pensar o cinema hollywoodiano da década de 1950 como capaz de ensinar modos de ser e estar no mundo, de produzir e significar o corpo como feminino. Para tal propósito, a partir da análise de duas cenas recortadas da comédia Quanto mais quente melhor, produzida e dirigida por Billy Wilder, em 1959, aproximo-me do pensamento de Michel Foucault e Judith Butler. Ao tomar o cinema como uma potente tecnologia para veicular discursos, com efeitos de verdades, que expressam e ensinam modos de ser e estar feminina, opero com a feminilidade como uma performatividade de gênero. Assim, procuro também discutir como sujeitos que escapam das normas de gênero e sexualidade apareciam nas telas do cinema dessa época, bem como, pensar algumas possibilidades do cinema para alavancar discussões sobre relações de gênero e sexualidade no campo da Educação. PALAVRAS-CHAVE: Educação. Cinema. Relações de gênero. Sexualidade.

The dramatic performer

The first genre chapter concerns Power’s many roles in dramatic films. His first and final films were both dramas, as was his star making role Lloyds of London (Henry King, 1936), and it is with an analysis of this film that the chapter begins. Applying a chronological approach to Power’s roles in dramatic productions, the chapter explores each of his films within this genre in turn, some in more detail than others, in order to suggest what changed and what remained the same about his performance style, image and physical appearance across his career from becoming a star in 1936 to his last completed film before his untimely death, the court-room drama Witness for the Prosecution (Billy Wilder, 1957). Other films which receive more attention are his first anti-hero role in Johnny Apollo (Henry Hathaway, 1940) and one of his darkest and best-known films, Nightmare Alley (Edmund Goulding, 1947), made after his return to Hollywood after three years of active duty during World War II.

Con faldas y a lo Wilder. Impacto y superación del Código Hays en 'Some Like It Hot' (1959), de Billy Wilder

El objetivo del presente artículo es explorar cómo las normas dictadas por el conocido como Código Hays delimitan y guían los mecanismos narrativos y el modo de representación de Some Like It Hot (1959). Así mismo, se plantea un estudio de la utilización de la comedia y de sus recursos propios como método empleado por Billy Wilder en dicho filme para, siendo fiel tanto al espíritu inicial de la obra como a la narrativa de la misma, imponer su voz autoral de cara a superar las prohibiciones impuestas por la censura. Y es que el guion de la obra se adapta constantemente para sortear el famoso código en lo respecto a tres temas con importante presencia en la película: el travestismo de los personajes masculinos, la sensualidad del personaje interpretado por Marilyn Monroe y el erotismo latente de algunas escenas, y la violencia presente de otras secuencias.

Billy Wilder as a Critic of Humanitarian Intervention

What follows is a chapter from a book originally published by the author in Greek, under the title Μπίλι Ουάιλντερ. Η (αυτο)κριτική του χολιγουντιανού θεάματος [Billy Wilder: The (Self-)Criticism of the Hollywood Spectacle] (Athens: Aigokeros, 2009). The book was translated into English but was never published. The version published here contains some inevitable additions and adaptations. Author(s): Akis Gavriilidis Title (English): Billy Wilder as a Critic of Humanitarian Intervention Translated by (Greek to English): Paul Edwards Journal Reference: Identities: Journal for Politics, Gender and Culture, Vol. 16, No. 1-2 (Summer - Winter 2019) Publisher: Institute of Social Sciences and Humanities - Skopje Page Range: 22-30 Page Count: 9 Citation (English): Akis Gavriilidis, “Billy Wilder as a Critic of Humanitarian Intervention,” translated by Paul Edwards, Identities: Journal for Politics, Gender and Culture, Vol. 16, No. 1-2 (Summer - Winter 2019): 22-30.

Buoying corpses up: A journey between Sunset Blvd. (1950) and Twin Peaks (1990-2017)

This article uses a comparative and hermeneutical analysis to explore the similarities and differences between the cinematographic work of Billy Wilder,in particular, Sunset Blvd. (1950), and David Lynch and the well-known television series Twin Peaks (David Lynch & Mark Frost, CBS, 1990-1991), as well as itswidely-expected continuation: Twin Peaks: The Return (David Lynch & Mark Frost, Showtime, 2017), paying special attention to the representation of the corpse both in narrative and historical terms. The hypothesis of the authors is that the figuration of the dead contains and symbolizes a specific model of representation at the same time as it anticipates the appearance of a new one. In conclusion, the body in suspension, located in the gap between life and death, functions as a hinge between the past and the future.

An Austrian in Hollywood: the representation of foreigners in the films of Billy Wilder

This paper examines the work of Billy Wilder whose rich cinematic production frequently involves the collision of different languages as well as the clash of dissimilar cultures. As an Austrian living in the USA, the director had the privilege of gaining insight into his adopted culture from the point of view of an outsider – a bilingual ‘other’ who made 25 films in almost 40 years of working in Hollywood. His films recurrently depict foreign characters at which Wilder pokes fun whether they are English, French, German, Italian, Russian or even the Americans of his adopted country. More precisely, the paper offers an overview of the multi-modal portrayals of diverse ‘foreigners’, namely Germans, Russians, French and Italians, with examples taken from a small but significant sample of Wilder’s films. The subtitling of dialogue in the secondary language for the target English-speaking audience and the specific translation solutions are not within the scope of this discussion, instead we focus on the comic collision of two languages and more importantly, on the way Wilder implements humour to highlight the absurdity of cultural difference. In other words, our main goal is to explore two or more languages in contrast when they become a humorous trope.