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020 _a9780292743779
_qPDF
024 7 _a10.7560/743762
_2doi
035 _a(DE-B1597)9780292743779
035 _a(DE-B1597)587117
035 _a(OCoLC)1286806086
040 _aDE-B1597
_beng
_cDE-B1597
_erda
072 7 _aPER000000
_2bisacsh
082 0 4 _a791.43086/64
_223
084 _aonline - DeGruyter
100 1 _aHumphrey, Daniel
_eautore
245 1 0 _aQueer Bergman :
_bSexuality, Gender, and the European Art Cinema /
_cDaniel Humphrey.
264 1 _aAustin :
_bUniversity of Texas Press,
_c[2021]
264 4 _c©2013
300 _a1 online resource (234 p.)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tAcknowledgments --
_tIntroduction: Ingmar Bergman and the Foreign Self --
_tChapter One “Foreign and Refreshing” The Art Cinema’s Queer Allure --
_tChapter Two. The Cultural Construction of a Cold War Auteur. Discourse and Counterdiscourse --
_tChapter Three. The Uncanny Undefined --
_tChapter Four. Staring Down Gender “Caught Between the Shame of Looking and the Shame of Being Ashamed to Do So” --
_tConclusion --
_tNotes --
_tBibliography --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aOne of the twentieth century’s most important filmmakers—indeed one of its most important and influential artists—Ingmar Bergman and his films have been examined from almost every possible perspective, including their remarkable portrayals of women and their searing dramatizations of gender dynamics. Curiously however, especially considering the Swedish filmmaker’s numerous and intriguing comments on the subject, no study has focused on the undeniably queer characteristics present throughout this nominally straight auteur’s body of work; indeed, they have barely been noted. Queer Bergman makes a bold and convincing argument that Ingmar Bergman’s work can best be thought of as profoundly queer in nature. Using persuasive historical evidence, including Bergman’s own on-the-record (though stubbornly ignored) remarks alluding to his own homosexual identifications, as well as the discourse of queer theory, Daniel Humphrey brings into focus the director’s radical denunciation of heteronormative values, his savage and darkly humorous deconstructions of gender roles, and his work’s trenchant, if also deeply conflicted, attacks on homophobically constructed forms of patriarchic authority. Adding an important chapter to the current discourse on GLBT/queer historiography, Humphrey also explores the unaddressed historical connections between post–World War II American queer culture and a concurrently vibrant European art cinema, proving that particular interrelationship to be as profound as the better documented associations between gay men and Hollywood musicals, queer spectators and the horror film, lesbians and gothic fiction, and others.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)
650 0 _aHomosexuality and motion pictures.
650 0 _aHomosexuality in motion pictures.
650 7 _aPERFORMING ARTS / General.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.7560/743762
856 4 0 _uhttps://www.degruyter.com/isbn/9780292743779
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780292743779/original
942 _cEB
999 _c187945
_d187945