LEADER 03808nam 2200601Ia 450 001 9910788316203321 005 20230803032544.0 010 $a0-292-74377-7 024 7 $a10.7560/743762 035 $a(CKB)3170000000060185 035 $a(EBL)3443659 035 $a(SSID)ssj0000860715 035 $a(PQKBManifestationID)11507804 035 $a(PQKBTitleCode)TC0000860715 035 $a(PQKBWorkID)10897784 035 $a(PQKB)10876715 035 $a(MiAaPQ)EBC3443659 035 $a(OCoLC)859687331 035 $a(MdBmJHUP)muse25082 035 $a(Au-PeEL)EBL3443659 035 $a(CaPaEBR)ebr10683916 035 $a(OCoLC)932314385 035 $a(DE-B1597)587117 035 $a(DE-B1597)9780292743779 035 $a(EXLCZ)993170000000060185 100 $a20120720d2013 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aQueer Bergman$b[electronic resource] $esexuality, gender, and the European art cinema /$fby Daniel Humphrey 205 $a1st ed. 210 $aAustin $cUniversity of Texas Press$d2013 215 $a1 online resource (235 p.) 300 $aDescription based upon print version of record. 311 $a0-292-74376-9 320 $aIncludes bibliographical references (p. 203-211) and index. 327 $aIntroduction: Ingmar Bergman and the foreign self -- "Foreign and refreshing": the art cinema's queer allure -- The cultural construction of a Cold War auteur: discourse and counterdiscourse -- The uncanny undefined -- Staring down gender: "caught between the shame of looking and the shame of being ashamed to do so" -- Conclusion. 330 $aOne of the twentieth century?s most important filmmakers?indeed one of its most important and influential artists?Ingmar Bergman and his films have been examined from almost every possible perspective, including their remarkable portrayals of women and their searing dramatizations of gender dynamics. Curiously however, especially considering the Swedish filmmaker?s numerous and intriguing comments on the subject, no study has focused on the undeniably queer characteristics present throughout this nominally straight auteur?s body of work; indeed, they have barely been noted. Queer Bergman makes a bold and convincing argument that Ingmar Bergman?s work can best be thought of as profoundly queer in nature. Using persuasive historical evidence, including Bergman?s own on-the-record (though stubbornly ignored) remarks alluding to his own homosexual identifications, as well as the discourse of queer theory, Daniel Humphrey brings into focus the director?s radical denunciation of heteronormative values, his savage and darkly humorous deconstructions of gender roles, and his work?s trenchant, if also deeply conflicted, attacks on homophobically constructed forms of patriarchic authority. Adding an important chapter to the current discourse on GLBT/queer historiography, Humphrey also explores the unaddressed historical connections between post?World War II American queer culture and a concurrently vibrant European art cinema, proving that particular interrelationship to be as profound as the better documented associations between gay men and Hollywood musicals, queer spectators and the horror film, lesbians and gothic fiction, and others. 606 $aHomosexuality and motion pictures 606 $aHomosexuality in motion pictures 615 0$aHomosexuality and motion pictures. 615 0$aHomosexuality in motion pictures. 676 $a791.43086/64 700 $aHumphrey$b Daniel$01532256 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910788316203321 996 $aQueer Bergman$93778350 997 $aUNINA