Queering Cult Cinema: Performances of Gendered Reception
“Gender” has been a commonly explored topic in the study of cult cinema, in particular with Joanne Hallows exploring “The masculinity of cult,” [1] and Ernest Mathijs and Jamie Sexton discussing gender and sexuality in their analysis of cult cinema. [2] However, there exists an unexplored gap between gender and queer studies in relation to cult cinema audiences, namely concerning performativity and audience participation. This presentation will explore how queer film audiences have developed performances of gender by “queering” films that are not originally or purposefully constituted as “queer.” This “queering” involves 1.) seeking performances of non-normative sexuality and 2.) recognising elements that might represent (or relate to) queer identities, subcultures, and aesthetics, such as camp and gender fluidity, even against the original intentions of the filmmakers. These films are queered to the point where a film’s reception might be altered and develop a cult status. Through this cult status comes performance and representation of gender or “performances of gendered reception” in the space/venue of the cinematic screening. In the reception of these queered films, the audience might respond and engage either through genuine reactions or performed reactions. These reactions and performances will be analysed in this presentation through textual readings of several “queered” cult film texts, juxtaposed with films initially intended as queer (or containing intentional queer elements). Some examples of these films where “queering” has occurred include The Wizard of Oz (1939), Calamity Jane (1953), Grey Gardens (1976), Mommie Dearest (1981), and Top Gun (1986). Intentionally queer films include The Rocky Horror Picture Show (1975), Pink Flamingos (1972), Paris is Burning (1990), and The Adventures of Priscilla, Queen of the Desert (1994). By analysing several of these texts, a clearer understanding will be developed between what constitutes performances of gender in cult cinema audiences, particularly in terms of what is genuine and what is intentionally performed. [1] Hollows, Joanne. "The Masculinity of Cult." In Defining Cult Movies: The Cultural Politics of Oppositional Taste , edited by Mark Jancovich, Antonio Lazaro Reboll, Julian Stringer, and Andy Willis, 35-53. Manchester: Manchester University Press, 2003. [2] Mathijs, Ernest, and Jamie Sexton. Cult Cinema: An Introduction . Chichester, West Sussex: Wiley-Blackwell, 2011.