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Queer Adaptations: My Own Private Idaho and Homo Pomo (Opening scene: the…
Queer Adaptations: My Own Private Idaho and Homo Pomo
Hutcheon: A Theory of Adaptation
What's the use of camp?
What's the relationship between actor and role?
Keanu Reeves?
the capitalizing on sexy young Keanu--confronting about standards of sexual attraction
the Male Call mag: he's ok with being shot by men, as long as they don't hit on you and pay you
"when you do it for free, that's when you grow wings" --when it's about economic transactions, you're not a fairy, but when you do it for free, you're gay; how does this shape our idea of homo/hetero?
Flea from the Red Hot Chili Peppers?
intimacy and plague times: the black plague//coronavirus?
Henry IV: intimacy, masculinity, sociality--how does that work?
there's nothing explicitly queer. It's not like two men are doing anything same sex sexy. But the language of the closet, interests in almost intimacy/closeness, the overperformance of masculinity (Hi, Hotspur)
Br
queer soundscapes
it's not an easy adaptation: the random
Henry IV
dialogue. The mix of 90s youth culture with Shakespeare.
Bob as Falstaff, heralding in the Shakespearean language.
Bringing in SHakespeare for the run down hotel? it elevates the images on the screen because we've changed the language. This is supposed to be something "artsy". For audiences who want something deeper. It's an ironic deployment of SHakespeare to poke fun at those who take him seriously
Scott Favor/Hal and Bobby/Hotspur and Scott/Mikey: suggesting more queer source material with Hal and Poins; is competition erotic? The intimacy of mentorship
makes us read the Hal narrative as representative of queerness as a waste, a loss, degenerate, shameful. "Just having fun" until getting his inheritance. The idea of queerness is something one can grow out of.
the Hal and Henry IV scene: reinforces disingenuous son who is just in it for the cash; the costuming creates visual irony; the exaggerated heartbeat--foreshadows death
Shakespeare as high brow, as exclusionary, as pretentious
in the FalstaffBob scene: we, the audience, are out of place. The shaky cam also mirrors Bob's state;
Idaho emphasizes privilege with Scott FAVOR
B Ruby Rich: homo pomo
the threesome scene is so stylized; Scott Favor's sexuality and unnamed desires
diverst from normal ideas of narrative (beginning/middle/end): this feels different and it teaches us homosexuality differently/as difference in style and form
Opening scene: the natural, diegetic animals sounds; we can feel the heat, the desert life;
the metaphor of the road: isolated establishing shots. "stuck"
strange mix of country homey with extreme longshots of barren, desolate fields
He's wearing Bob's shirt; the recursive nature is about struggle, not about progress; patterns of struggle rather than narratives of struggle
the temporal flexibility: the film doesn't give us stable time.
cracked pocket watch (antiquity); the ticking parallels his anxiety which triggers narcopleptic episodes.
the intercuts with his mom and his dream sequences
use of close up on hands and face to orient us to narcolepsy? Disability allows him to dream about intimacy with his mother
the use of costuming to get us to feel attracted to this film. The use of style to orient us positively to drug use, sex work, etc. Who cares about narrative when you have style?
Scott and Mike
Scott as a mentor? Care taker?
the fire chat scene:
the ever relateable queer longing. Scott leading him on? During the embrace it's dark, what if? How do we feel about queer desire as always potential? The break with 3 pt lighting and fire light