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1981
Volume 13, Issue 1
  • ISSN: 2042-1869
  • E-ISSN: 2042-1877

Abstract

Oliva Wilde’s 2019 film garnered attention through the subversive conversation it placed on-screen effortlessly through the art of comedy. However, scholars Kathleen Battles and Wendy Hilton-Morrow write, “homosexuality can only be represented through heterosexist categories and language, while at the same time it is marked as a deviation from the norm,” this rocky navigation of queerness in heteronormative territories produces the heavy question of if comedy is progressive enough to contribute to the movement of the discourse on queerness. This article answers that question by performing a deep focus on the cinematography, character actions, behaviors, relationships as well as examining their environments that offer the pleasures of comedic and educational glimpses of queer theory on-screen.

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/content/journals/10.1386/fm_00208_1
2022-03-01
2024-05-29
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References

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