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• W642240510 abstract "--Violet, from Bound This essay (1) is grounded in the three triangulated premises suggested by my subtitle: first, that lesbian desire has always haunted mainstream, popular imaginary; (2) second, that such hauntings have equally lurked in and around for as long as Hollywood has had meaning; and third, that the relationship between the former and the latter is completely overdetermined. Russo, Tyler, Dyer and many many others have documented the history of gays and lesbians in films, and so I will not duplicate that work here. I will explore here is the dialogic and noisy collision of three not unrelated discourses--a mainstream, popular imaginary as I construct it; Hollywood represented by noir as formal genre; and those who identity/identification under the sign Lesbian -- in one recent and, I would add ethnographic, film: Bound. Let me state my biases right at the outset: I confess an intense and mildly embarrassing attachment to this film. My own response surprised me and like most scholarly work, this paper represents desire to interrogate that response and answer that persistent question Why?. Thus, the writing of this text is conditioned by persistent, but entirely necessary, vacillation between the also triangulated subjectivities of fan, critic, and scholar. I offer that response to the film--product of desire for Violet (Jennifer Tilly); willing identification with Corky (Gina Gershon); and disidentification with Caesar (Joe Pantoliano) -- not only as measure of Bound's success, but also as measure of the genre's own formal and historical preoccupation with the construction/ deconstruction of masculinities, female masculinities included. In other words, the Why of my response is not really the mystery; part of what this paper will interrogate is the How, replacing the rehashed questions: Who really spoke? With what authenticity or originality? or And what part of [her] deepest self did [she] express in [her] discourse? with: What are the modes of existence of these discourses? Where have they been, how do they circulate, and who can appropriate them? What are the places in them for possible subjects? and Who can assume these various subject functions? (Foucault, What is an Author? 120). Also, I'd like to suggest that Bound, as Hollywood film foregrounds mainstream or popular discourses about female same-sex desire in transitional gender trouble. (3) The competing, dialogic and often contradictory discourses which invest the term lesbian, (4) are mapped onto the bodies of both Violet and Corky, and exist in dialogic conversation with lesbian-feminism, lesbian-separatism, lesbian chic, the recent reiterative citation of historical butch/femme cultures, the current privileging of gender transitivity as the mark of queerness, and an entire host of psychodynamics overlapping with each of these events. (5) Bakhtin reminds us that the significance of any given utterance has to be understood against both the background of language and the history of utterances which overdetermine that utterance's meaning. A particular utterance represents the co-existence of socio-ideological contradictions between the present and past meanings of the term, between differing epoches of the past, between tendencies, schools, circles of the present. Each utterance does not exclude these competing conversations, but rather is the site where they intersect with other, where each word is given bodily form, and, in fact, tastes of the context and contexts in which it has lived its socially charged life (281-93). I suggest that Bound not just remembers these competing conversations over the intelligibility of female same-sex desires, but shows them in direct dialogue with each other. The effect of the discursive heteroglossia in Bound is that it manifests that which both lesbian-feminism and Queer Theory have had trouble materializing: that is, femme body, or as Duggan and McHugh write it, a queer body in fem(me)inine drag (153). …" @default.
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• W642240510 date "1998-01-01" @default.
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• W642240510 title "I Want Out! Bound and Invested: Lesbian Desire Hollywood Ethnography" @default.
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