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- W2892999158 abstract "The Boy Friend and Salad Days were the hit musicals of 1953 and 1954, and both made use of pastiche that parodied the music and the styles of the 1920s; both were written by gay men in the context of a Britain where homosexuality was illegal. Pastiche is in its very nature nostalgic, working as it must with a form and mode that belongs to the past, and The Boy Friend references a very particular version of the past. The lyrics and music invoke the revues of Wilson’s Oxford days, the wit of Noel Coward and the glamour of Ivor Novello’s pastiche ‘mittel-European’ operettas. The 1920s was the period of Wilson’s childhood, now seen through the prism of war time experience, which gave it a particular glow of safety. It is also the context for the first book of the 1945 novel Brideshead Revisited, in which Charles Ryder and Sebastian Flyte meet as students at Oxford. Titled ‘Et in Arcadia ego’ the sequence references a lost utopia of youthful, homoerotic love, before the advent of family, marriage, Catholicism, addiction and divorce. The queering of nostalgia complicates its politics. There were particularly good reasons for homosexual men to be nostalgic in the mid 1950s, a period which saw ‘a new climate of intolerance’ towards homosexuality. This paper argues that nostalgia for an apparently happier time was a strategy for coping with the very real threat of imprisonment, and a means of articulating a camp assertion of homosexual identities." @default.
- W2892999158 created "2018-10-05" @default.
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- W2892999158 date "2019-01-01" @default.
- W2892999158 modified "2023-09-27" @default.
- W2892999158 title "‘Remind me to remind you, we said we’d never look back’ Julian Slade and Dorothy Reynolds, Salad Days,1954 Sandy Wilson, The Boy Friend and the Nostalgia of Camp" @default.
- W2892999158 hasPublicationYear "2019" @default.
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