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- W2793973206 abstract "In a quick but disorienting visual exchange at the end of David Lynch's Mulholland Drive (2001), two unacquainted characters, Dan and Diane, encounter each other at a diner called Winkie's. The film's queer temporal and spatial logics invite these two to recognize each other – a shared recognition into which I am also drawn. Already a part of the queer film canon because a lesbian relationship drives Mulholland's plot, my trans reading adds a new perspective to the growing literature on queer spectatorship. Here in ‘this Winkie's’ fragmentation, circuitive desires, and cross-identifications transpose onto transtemporal ruptures. If cinema is a somatechnics – a crafting of bodies – it is important to consider the ways spectatorship is informed by trans viewers. In this essay, I demonstrate usages of trans male practices that connect new phenomenological links between embodiment and cinematic experience. My primary concern is to explore how a cinematic body looks, thereby bridging a trans viewer to cinema. After Diane and Dan share a passing glance, Lynch's fragmentary aesthetics suggest that perhaps I, not Lynch, am the man behind Winkie's, and Dan, with trans insight/foresight, can see me through the wall. Dan and Diane are waiting in Winkie's for me to see them and recognize them, just as they briefly recognize each other." @default.
- W2793973206 created "2018-03-29" @default.
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- W2793973206 date "2018-03-01" @default.
- W2793973206 modified "2023-09-25" @default.
- W2793973206 title "Passing Glances: Recognizing the Trans Gaze in Mulholland Drive" @default.
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- W2793973206 doi "https://doi.org/10.3366/soma.2018.0238" @default.
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