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Childress, Kirby: "Abjection of the bisexual self. How haptic visuality brings internalized biphobia to screen in Collard’s Les Nuits fauves and Kechiche’s La Vie d’Adèle." In: Queer Studies in Media & Popular Culture 3.3 (2018), S. 335–345. 
Added by: joachim (10/29/2019 11:52:44 AM)   Last edited by: joachim (10/29/2019 11:54:35 AM)
Resource type: Journal Article
Languages: English
Peer reviewed
DOI: 10.1386/qsmpc.3.3.335_1
BibTeX citation key: Childress2018
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Categories: General
Keywords: "Le bleu est une couleur chaude", Adaptation, Film adaptation, France, Gender, Kristeva. Julia, Maroh. Julie
Creators: Childress
Collection: Queer Studies in Media & Popular Culture
Views: 7/100
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Abstract
Bisexual people often find themselves stranded between a homosexual and heterosexual world, which can lead to feeling invisible and alone. To add to the struggle, many on both sides criticize bisexuality as being merely a phase before coming fully out of the closet. A lack of support can cause bisexual people to internalize the negativity and biphobia that surrounds them. This article examines how internalized biphobia is depicted in the lives of two characters, who never self-identify as bisexual, though they engage in both heterosexual and same-sex sexual relations. Laura Marks’ idea of haptic visuality is used to dissect camera movements and shots, while Julia Kristeva’s theory of abjection serves as a basis for analysing the differences in portrayal of heterosexual and same-sex relationships.
  
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