Connotations of Homosexuality in Films

Doty addresses this last point and nones that this make it seem that the most effective way to overturn intension was to argue that while it seemed it was only reading whimsicalness into things where it did not exist, it was actually finding something that really existed in the text. Doty relates the issue to the indecision of the validity of texts themselves, for texts possess "unstable representational codes" (Doty xii) which make such an analysis uncertain. Doty also sees the issue of denotation and connotation as a political issue, meaning it is heavy in discernment and coping with the way the dominant hetero versed culture deals with the transvestic culture. The dominant culture keeps oddity connotative, as a sub-text and so as an alternative reading (Doty xii).

Robin woods says something quasi(prenominal) when he notes that connotation in occurrence suppresses denotation:

When traffic with ideology, it is always necessary to ask not only what it explicit but what it represses. The opposed, largely contradictory, ideological positives our culture offers (monogamy and family, romantic love) have one obvious feature in common: the public press on exclusivity and mutual possession. . . What is repressed is the possibility that people dexterity relate freely to each other, on a nonpairing basis, without marvelous restriction

At the alike time, Wood is more accepting of the role of connotation as magnanimous different dynamics to film representations. He talks round the idea in terms of the films of Howard Hawks, for instance, a man whose films he has already identified as countering the dominant culture in many respects even as it mirrors elements from that culture. Hawks expresses a sexual ambiguity in terms of role reversal, which takes its power from the fact of the presence of the dominant culture at the same time:

s on each other's liberty (Wood 15).

At the same time, Doty finds that there are reasons for study the works of these film producers within the circumstance of queer culture and queer cultural studies, and he admits that such a concern derives from an intersection of cultural history and the in-person history of the reader, just as it does with the personal history of the filmmaker (Doty 21).

Dyer, Richard. "Believing in Fairies: The Author and The Homosexual." In Inside/Out, Diana bunco game (ed.), 185-201. New York: Routledge, 1991.

Doty cites Mayne on the films of Arzner and notes that she suggests that characteristics of Arzner's " egg-producing(prenominal) authorship" are run aground "in the tensions between her narrative interest in female communities and friendships among women and her representations of herself through certain secondary characters coded as 'mannish' lesbians" (Doty 22). Thus, says Doty, Mayne finds evidence of queer authorship in the element of irony. Doty also finds that one of the reasons why Arzner has not been analyzed in terms of her lesbianism to the degree Cukor has close to his gayness is beca commit she gave fewer interviews and so provided less ammunition for critics to use in making such an examination. Doty analyzes the idea of using queerness as a means of developing a supposition of authorship and points to elements of the auteur theory as ways in which critics index accomplish this task. He notes that biographical information becomes more important because "queerness is
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