GWSS Spring 2008 Section B

I disagree with the idea that the libratory aspects of the road are limited by the appearance throughout the film of hegemonic masculinity. The road gives huge amounts of freedom to the three main characters and they encounter numerous "normal" males along the road that provide help for them and except them for the drag queens that they are. The aborigine mechanic in the desert, even goes so far as to dress up in drag and join the show. Bob, the typical representation of a male character, finds more freedom for himself leaving behind the hegemonic masculinity that is typical in his small town and joining the group for the rest of the tour to Alice Springs. The clashes of cultures that happen along the way are most often based on a lack of understanding and confusion. At the hotel bar for example, when the queens show up in full on exuberant drag, by the end of the night they have become part of the crowd. Bernadette drinks her opposition under the table, while Felicia entertains the crowd at the bar. The painting of the bus and the run in with the males trying to hurt Felicia does have a short-lived effect on the spirit of the trip, but it does little to hamper the lifestyle with which the three enjoy.

Posted by Lady at 12:43 PM | Permalink | Comments (0) | TrackBacks (0)

I agree. I believe that the adventure the characters took are suppressed by a return to the logic of hegemonic masculinity because no matter how masculine of an area they were in, they kept to their guns and didn't change who they were. They let their real personalities shine through in a very dominated hegemonic masculine area. The outback couldn't get any more masculine and the men still weren't affected by this. The suppression of hegemonic masculinity is exemplified in the film in many scenes. In one scene, the men decided to stop in a bar for a drink and rest from their trip. When the men entered the bar, they were out of place and the center of everyone's gaze. You could tell that the atmosphere was male dominated by all of the men in the bar and the harsh response to their presence. Even though everything was working against the men, they still went in as themselves and didn't back down.

Posted by tennischica at 7:38 PM | Permalink | Comments (0) | TrackBacks (0)

Okay, Queen of the Desert is a movie about 3 guys/gals with different sexual preferences. All these three people are in the drag show business. And one day they decide to leave their so-called "safe" home Sydney and travel around the rural areas where they find many people who are not willing to accept them for what they are and very few people who are open enough to accept them. In ways, i agree and disagree with the article by Aitken & Lukinbeal.
I disagree because although these three characters might seem weak, they are strong and willing enough to go out and try out the small rural areas. they are willing to take this risky adventure even if there are chances of danger to their life.
I agree with the article that the road is in a way also controlled by the so-called more dominated straight male. However, if you further compare this film with Easy Rider, even the two protagonist faced unacceptance even when they were two straight guys. I think the road is very closed-minded depending on the culture. Anything that seems to be against the culture, not part of culture, or just plainly simply looks different or weird are not accepted by the road and the people who live around that road.
One thing that I liked about this film is that it shows that people react to certain differences based on how they are actually brought up. For example, depending on how open your family is to other races, sexes, or etc. you are most likely to behave that way. In Queen of the Desert, Tick son has been taught by his mother to be more open towards the drag. The son has seen many other drag shows hosted by his mother. so, he is more open to these kind of people. Therefore, even when Tick is worried sick about explaining his work or sex to his son, the son understands what his dad is and is rather happy for his dad for what he is. So, this is a lesson that this movie actually teaches us. Also, the character Bob who is very kind and willing to help these three guys not only with the truck, but also from sexual molestation, Bob seems very open to these three guys. And i think that's because he is more open to other culture and races. For example, his wife is an asian. So, he is more accepting, while his other friends are not.

(it looks like I forgot to publish the blog. I am sorry that it's rather quite late. But, I didn't notice it until now. )

Posted by Sakina at 3:34 PM | Permalink | Comments (0) | TrackBacks (0)

I must also apologize for my tardiness. My exam this morning left me in need of a nap and my alarm did not go off...

I agree with Aitkin and Lukinbeal's article that the Queens of the Desert were not liberated in their masculinity, but returned to the logic of hegemonic masculinity. I think that the potential for liberation was presented, but nothing became of it. Once leaving their safe haven of Sydney, they take their homosexual life and the safety that is associated with it on the road with them, relying on the bus for safety and the "normality" of the life they left. While the culture outside of the bus changes, they can always retreat back to the bus if society does not welcome them. As noted in the article, the only point where they were almost in hysterics was when their bus broke down. They are reliant upon Priscilla for their way of life to travel with them.

Aitkin and Lukinbeal also state that "the broader narrative of the movie, with its focus on family, community and sedentarism is suffused with a seemingly incontestable partriarchal logic" (358). I find this to be true, that the norms of a patriarchal society are not challenged in this film, but are conformed to. Mitzi gets to be the normal father and Bernadette gets an outwardly normal heterosexual relationship. While over-the-top flashiness and gaudiness present themselves in every scene, hegemonic masculinity is not overturned or challenged, but instead is embraced.

Posted by Pumpkin at 1:39 PM | Permalink | Comments (0) | TrackBacks (0)

First of all, I have to apologize for my tardiness. I couldn't get the blog to open on my computer.

Anyway, I agree with Aitken and Lukinbeal in that I believe that "Priscilla" does in fact return to the logic of hegemonic masculinity. Before I could answer this question though, I did have to look up the word hegemony which I found to be defined as: a concept that has been used to describe the existence of dominance of one social group over another. In the case of "Priscilla," I believe that the goal was to liberate the freedom of a male presence in a woman's socially defined norm. However, every time the men dressed as drag queens it was a very humorous part of the film. I do not think that they were liberated in any sense of the word. Especially because they returned to the safe haven which they left in the beginning. Mitzi especially makes a journey towards hegemony rather than liberation. Aitken and Lukinbeal state that, "The road trip to Alice Springs is an attempt ot contest these contrived spaces of difference, but it is also about coming to terms with other hegemonic norms such as family and fatherhood. Mitzi was ready to try and be the "normal father" but instead he simply got lucky in the fact that he was already well educated in the world that Mitzi comes from. Before he realized that though, Mitzi was embarrassed by his lifestyle. I just don't think that the film gave me any new information that I didn't already know about the hardships that transgendered people go through, and I don't know much to begin with.

Posted by releasethekraken at 12:34 PM | Permalink | Comments (0) | TrackBacks (0)

I do commonly agree with Aitken and Lukinbeal's argument that the potentially libratory aspects of the road for masculinities are suppressed by a return to the logic of hegemonic masculinity in the fact that in Adventures of Priscilla, Queen of the Desert the travelers are offered a sort of liberating notion and safety of their bus and of being unknown. Mitzi, Bernadette and Felicia embark on a trip that is designated to offer them something, disengaged from money or fame, individually characterized by a certain liberation they require. Bernadette's partner had just died, Mitzi had the underlying job of rejoining a life he had left behind, and Felicia was along for the thrill and the idea of fame. As two drag queens and a trans woman they realized that they would come up against certain resistance in the Outback, far away from their "safe" city.

In a way, this is documenting the libratory aspects of the road for masculinities. The three felt safe to travel, to be themselves. The first night they stop Mitzi and Felicia dress in full drag and parade around a
small town, shocking everybody. However, on that same night, Bernadette is required to confirm and negotiate her masculinity.

Continue reading "Queens of the Desert" »

Posted by cici at 11:48 AM | Permalink | Comments (0) | TrackBacks (0)

I have to disagree with Aitken and Lukinbeal. I don't feel that a liberal masculine figure must suppress themselves for the sake of "normal" masculinity. To accept that comment would suggest that a man has no option but to be as much as a "real man" as possible. However, society as well as culture, molds the functional roles of a man. He must portray himself as strong and masculine, and anything related to femininity is an outrage. This was seen when the men in the small town realized Felicia was a man. They were ready to assault him, probably more because they felt tricked. We also see that Bernadette, as much as she portrayed herself as a woman, had to step into a masculine form to defend Felicia. So why can't a man be both masculine and feminine? If the world were perfect than they could, but due to societal constraints, it can't be possible. We saw Tick's reaction to seeing his son at the end of his performance. It seemed to put pressure on him to suppress his Drag characteristics, but his son already knows he is a Drag Queen and does not care. His son's upbringing allowed him to be open. Just seeing this acceptance allowed me to realize that liberation is something that is molded into culture.

Posted by will1612 at 11:35 AM | Permalink | Comments (0) | TrackBacks (0)

I slightly disagree with the article because although the characters in the film are vulnerable to insecurities, they also test the rural society by embracing many of the characteristics about their lifestyle that are the source of discrimination. Many of their actions result in discriminatory responses, yet they never become so afraid that they cease to be who they are. Their insecurities about themselves stem from their job as performers; They want to entertain, be considered beautiful, and have a positive response. To not have that desire would be to give them a superhuman strength. The surface of this film is to show how fantastic their performances can be, and how their beauty, contrasted with the beauty of the outback, is only observed differently because of the rural interpretation. The concerns about acceptance that Mitzie feels does not stem from insecurities about himself. It comes from a pessimistic perspective on the ability for other people to accept him, even his son. His responsibilities as a parent keep him from embracing his identity until he realizes that he chose the right wife to raise the child with an open-mind and the ability to transcend the pressures to conform from the rural Australian society.

PS. The scenes with the mail-order bride remind me of Breakfast at Tiffany's, when Mickey Rooney dresses in "yellow face" and exploits racist Asian stereotypes. It really pollutes a fine film, as with this one.

Posted by Miss Blog at 11:33 AM | Permalink | Comments (0) | TrackBacks (0)

Priscilla, Queen of the Desert

I would have to agree on the idea that the article, Disassociated Masculinities and Geographies of the Road by Aitken and Lukinbeal, brings up about the road of masculinities in the movie are restrained by the logic of hegemonic masculinity. From the film the 3 male characters face a closed-minded society while out on the road with a few of exceptions for some characters they meet, such as Bob who helps them fix their bus whenever it breaks down. They have faced many challenges with society not accepting these men for what they are, .and the many rude looks they get towards them especially when these men go to the bar or out shopping.

Felicia who goes out to get a beer outside with a group of very closed-minded men, gets run down by the men, because they did not like how Felicia was a man. Felicia almost gets attacked until Bob steps in and helps him out. Then we have Mitzi who has a son and is very worried of what he might think of his dad, because of some society's reactions when he is on the trip with the bus being vandalized and not accepting these men. Now, there is Bernadette who knees a man in his groin name Frank who states, "Well I'll be darned. The whole circus is in town" then disrespects Bernadette by telling him to go screw with him. Throughout the movie and in the end of the movie these men accept themselves, and do not let the challenges get in their way of how the norm of what men are suppose to act like.

Posted by tranx246 at 10:42 AM | Permalink | Comments (0) | TrackBacks (0)

I slightly agree yet disagree with Aitken and Lukinbeal in their claim that the adventures in the film were somehow suppressed by the desire to fit in amongst the normality of masculinity. In the first paragraph of Aitken and Lukinbeal's article, they write "...it is Priscilla that furnishes a haven from which the three friends can safely face issues of sexual identity, home, family, and community." I believe that this is very accurate is generalizing the movie. Priscilla is their safe haven amongst a world in which they are extravagant outsiders. From the very beginning of the film, we can see how troubled Mitzie is, and how s/he is torn between being true to herself as a drag queen and the fear of what might happen once she meets her son. She worries that he might not accept her both for what she is and that she is his father. This internal struggle pulls Mitzie between her true self as a drag queen and wanting to be a positive "male" role model. Even Bernadette tries to find a sense of normality, as she feels annoyed by Felicia's overly excessive flamboyancies. Along the road, all three ladies fight with both their internal self-identities and the views of those that they may encounter, from the gentle-hearted Bob to the violently homophobic miners. Parts of them long to be accented in a masculine world.

However, I feel that, as the film progresses and the ladies start to find themselves in their own personal ways, they start to disregard the need to return to the logic of masculinity. Bernadette finds acceptance and a seemingly inncent and sweet love interest in Bob; Mitzie realizes that her son accepts her for what she is, and is actually proud and curious; and Felicia really doesn't change for anyone no matter what. They finally climb their rock in their frocks, and find a sense of liberation and defiance for people who don't see them as good enough. The final ABBA scene, in my opinion, was the perfect conclusion to the movie. They are shown as truly happy and liberated, despite what normal masculinity might dictate in the "normal" world. In this respect, I do not feel like, towards the end of the film, they were in any way repressed by masculine normailty. They simply kicked it aside with some fabulous heels and kept living their lives.

Posted by KoreanPrincss at 10:21 AM | Permalink | Comments (0) | TrackBacks (0)

In their essay about "The Adventures of Priscilla, Queen of the Desert," Aiken and Lukinbeal view the theme of fatherhood -- that drag queen Mitzy is not only traveling to Alice Springs for a cabaret job and a change of venue, but also (and more importantly) to take an active role as a father -- as an unnecessary and undermining exercise in the imposition of hegemonic masculinities onto a potentially liberating narrative. "If male hysteria is mobility away from the status quo, the cure is a reinscription into hegemonic space and place. In other words, the remedy is to assimulate men back into the societal and sexual roles assigned to them by patriarchy and hegemonic masculinity -- marriage, family, and productive employment" (p. 354). Unpacking this a little further, the authors suggest that the only way that audiences are able to deal with a non-traditional male roles is to impose traditional male roles upon them in order to 'normalize' these men (per societal standards).

I am not sure whether this argument holds up entirely in regard to Mitzy's role as a father in Priscilla. Granted, the role of 'father' was imposed upon Mitzy when his wife called and asked for some assistance (she needs a vacation and the boy needs his father). So, the overall narrative concerns a certain reinscription of a traditional male role onto someone whose sexuality and lifestyle is far from traditionally masculine. And granted, when Mitzy first meets his son, he adopts the clothes and attitude of a traditional rugged male Outbacker in order to 'present' as a 'manly' father-figure -- again, an imposition of hegemonic masculinity. However, the child sees right through the facade and still accepts his father for who he is, rather than who Mitzy thinks he needs to pretend to be. With the acceptance of his son, Mitzy, takes on the role of 'father' -- not in terms of how he aligns himself with the ideals of hegemonic masculinity (traditional fatherhood), but from a more brave perspective of being a father who is free to be different from the hegemonic male norm: gay and a performing drag queen. To me, Mitzy being able to fully accept his newly-adopted traditional role as father and do it without compromising his own ideals is truly liberating, especially in a world where many of life's responsibilities (such as caring for one's offspring) tend to box us into limited roles.

Posted by Sweeper887 at 10:19 AM | Permalink | Comments (0) | TrackBacks (0)

I don't agree that the libratory aspects of the road are suppressed in Priscilla. This movie focuses on a non-normative group taking to the road and finding themselves on the journey while confronting a society that often rejects them. Although attempts are made to reinforce normal masculinity (such as when their bus is vandalized), they persevere by painting over the hate speech. For every obstacle they encounter, they overcome it in some way. They do not give up when the couple who was coming to rescue them when their bus broke down drove away upon seeing them. Even though the men at the bar didn't enjoy their performance, they didn't let that stop them from performing. If anything, the road made them more confident in their choices because for every couple of people that they met who ridiculed them, they met someone who accepted them. They found support and friends through their journey and that is why the road was a liberating experience for them.

Posted by orour078 at 10:19 AM | Permalink | Comments (0) | TrackBacks (0)

It is quite apparent that throughout the course of the film Bernadette, Felicia, and Miztie are traveling along with the entrapment of the male gaze. This journey that they are taking shows an attempt to question the heteronormality of the road and to put into question the hierarchy of power that is present. The suppression that these individuals face is a result of the road being presented to them as a structured place in which there is a marking of male normative dominance. We, the audience are able to see proof of Mr.Webster’s ideas on queer suggesting an idea of worthlessness, suspicion and the ability to be questioned by those that they encounter on the road. After Bernadette, Felicia, and Mitize reach their first destination they are immediately rejected until they are capable of proving their normative masculinity. When Bernadette is attacked by another female at the bar she challenges her to a drinking match in which she is the successor. This provides her along with her other travel mates the freedom to be free of the dangers of homophobia at the particular moment in time. The fixity and stasis of normality is continuously dependent on place. When the women are stuck out in the desert we are able to see the difference in treatment of those that are living outside of the walls of society and those that have allowed themselves to become an active component in reinforcing social norms of heteronormality.

Posted by Megatron at 10:06 AM | Permalink | Comments (0) | TrackBacks (0)

I disagree with this point. I believe that although there is some degree of a return to a more normal masculinity with Tick's attempt to be a manly dad, and Bernadette's ability to punch a man out, there is still a great deal of the questioning of the hegemony and heteronormativity. I think the fact that Bernadette can punch out a man and still remain a women, anatomically and sociologically, straddles the line that doesn't lend itself to the hegemony. The fact that Bernadette does end up getting attached to a man, although could seem anti-subversive, the fact that she was born a he, and that the man she is seeing is actually open minded and "macho" furthers this separation.

The end of the movie also shows that this hegemonic idea doesn't work. As the men assume their characters as Abba/Drag queens, we can see that they are ultimately comfortable and happy in what they are doing. Drag isn't an imitation of women, but a breakage from assumed identities and the roles that we play. There is nothing hegemonic about them and their performances.

Posted by tris0020 at 9:05 AM | Permalink | Comments (0) | TrackBacks (0)

<< The vehicle is a safe haven because it is the embodiment of the protagonists` drag identity, but it also extends their bodies and enables them to disrupt the scale of the local>>. I have to agree with Aitken and Lukinbeal. It is almost as if Mitzi, Bernadette and Felicia would always rely on their "male side" even when dressed as women. For instance, when the three friends went to a bar (in the first hotel the stopped at), although they encountered a hostile environment at first, they all soon where having lots of fun with the other males of the bar. Bernadette herself was having a drinking contest (quite a manly act) with the "thought' homophobic woman.

Posted by quevi003 at 8:45 AM | Permalink | Comments (0) | TrackBacks (0)

"Priscilla does not offer a new model of masculinity and the gaze because it buys into the architecture of stable space, naturalized notions of scale, and a sedentary form of being."--Stuart C. Aitken and Christopher Lee Lukinbeal in "Disassociated Maculinities and Geographies of the Road"

In The Adventures of Priscilla, Queen of the Desert, the potentially liberating aspects of the road are indeed suppressed by a return to the logic of hegemonic masculinity. In other words, the film unfortunately "plays it safe" when it comes to its progressive themes. The first aspect through which this tendency is manifested is the film's adherence to firmly established norms--things are not likely to change or fail based on the rudimentary subject matter. For instance, the cross-dressing in and of itself, while deliberately (and rightfully) excessive, does not transgress clichéd stereotypes and typically liberal mainstream appeal. While very likely offensive to some people's tastes, there is no challenging of the middle ground to be had--the cabaret/lounge-singing showgirl persona is, from my experience, one of the most commonly accepted and least avant-garde forms of cross-dressing presented in conventional media (especially studio-released films). The other primary aspect of the film's propensity toward hegemonic masculinity is to be found in the protagonists' pervasive passivity. While they do take progressive action in their decision to embark on their journey, they essentially "go with the flow" and sit around, waiting for things to happen to them. The character of Bob, for example, while a positive image of an accepting GLBT community ally in the form of a straight male, is still "needed" by the narrative to assist the marginalized bodies of Bernadette, Mitzi, and Felicia on their expedition. The bus rides are filled with scenes of lounging around, the main concern often seems to be finding alcohol (to become even more sedentary), and attempts at heteronormative subversion backfire (especially during the scene in which Felicia almost passes with a group of presumably straight men, only to fail and require assistance from Bob). In essence, The Adventures of Priscilla, Queen of the Desert falls victim to its own hesitancy.

Posted by pete5676 at 11:07 PM | Permalink | Comments (0) | TrackBacks (0)

I would have to agree with Aitken and Lukinbeal's assertion that the depiction of masculinities in Priscilla, Queen of the Desert attempts to be liberating while reinforcing hegemonic masculinities; this is done through the depictions of femininity in the film. It seems as though, throughout the film, masculinity is celebrated at the expense of femininity. The male/trans protagonists of the film are often portrayed as comical and sometimes flighty. This occurs through the appropriation of feminine characteristics, mannerisms, and dress. It is as though they are attempting to become clowns by presenting themselves as women. Most often the viewer laughs at the characters while they are attacking like or dressing as women. A scene that illustrates is the one in which Tick is dressed in a woman's green dress and is flouncing around practicing his drag routine after the bus has broken down. We can see he is obviously male as he is wearing only a dress and no other female accoutrements like make-up, accessories, or a female wig (his head is bare and obviously male). We laugh at his actions, largely due to the fact that this is a man in a dress that looks ridiculous performing in such a way while he is wearing a dress.

Posted by Emma Zoch at 10:05 PM | Permalink | Comments (0) | TrackBacks (0)

I agree with Aitken and Lukinbeal that the drag performers in “Priscilla, Queen of the Desert� don’t actually accomplish more than a token amount of subversion during their trip across the outback. Despite the time that they are three queer individuals traveling into a severely homophobic and conservative space they are always able to retreat to a safe space. If they were unable to return to the safety of their bus but were instead forced to endure prolonged interaction with the homophobic citizens of the outback could have been some sort of dramatic event that could eventually lead to a change in the attitudes of the people they encounter. During the scene were the group of men drinking outside in Alice Springs begin attacking Felicia they are stopped from causing any severe damage because Bob shows up. Then all the characters retreat to their hotel and eventually leave on their bus. Imagine what would have happened if the characters were faced with the death or injury of on of their friends. Law enforcement would have been involved, investigation hopefully would have occurred and something public would have been enacted whether for an eventually positive or negative consequence. By continually passing through hostile space the inhabitants of Pricilla don’t even stay long enough to change anything in their surroundings. When their bus is defaced with a vile message the vandalism is accomplished and then they move on. No one has to ever see the bus again, be embarrassed, make new connections with travelers and eventually involve them in a community. Instead the bus moves on. The ability of the characters to continually move through the Outback’s unfriendly spaces is liberating in a way because the characters are allowed a sort of freedom by not being stuck in a single small environment. However they never enlarge their free space beyond the confines of the bus that has traveled with them since Sydney and that eventually carries them back. In the end have they accomplished anything by their journey? Have they actually been anywhere besides the interior of a bus named Priscilla?

Posted by Alex M. at 9:40 PM | Permalink | Comments (0) | TrackBacks (0)

In Disassociated Masculinities and Geographies of the Road Aitken and Lukinbeal argue that Pricilla isn't liberatory because Pricilla offers a "safe haven" and that there isn't ever a "possibility of contestation". They also claim that the only moment of possible hysteria arises when Pricilla breaks down and they are left without their safe haven. It seems to me that there is always a possibility of contestation. They are constantly being forced into to struggle in the outback where homophobs abound. Not only this, but the idea that their only moment of hysteria is the time when the bus breaks down seems ridiculous. Felicia is almost beaten and there is a wild chase scene in which Bernadette is the only one keeping her cool. Their conclusion is also based on the fact that by ending "with an affirmation of home and family" that they are somehow embodying patriarchal logic and therefore this is not a liberatory film seems half baked because the very idea of non-sexually normative people having a sense of home and of family is liberatory. Though they may be correct about the gaze still being present, the ideas in the film are clearly portrayed and they are certainly not suppressed by a return to hegemonic masculinity.

Posted by ninjasecret at 8:05 PM | Permalink | Comments (0) | TrackBacks (0)

“The journey to Alice Springs is about how mobility, scale, and space “disassociate� Mitzi, Felicia, and Bernadette from their local roots in Sydney, but it is Priscilla that furnishes a haven from which the three friends can safely face issues of sexual identity, home, family, and community. “ (Aitken and Lukinbeal, 349)

Though I agree with Aitken and Lukinbeal’s assertion that Priscilla creates a safe space for the gay men who take the road in Priscilla, Queen of the Desert, but I do not agree that “…the broader narrative of the movie, with its focus on family, community, and sedentarism is suffused with a seemingly incontestable patriarchal logic� (Aitken and Lukinbeal 358). The suggestion that this film ends within the patriarchal structure is absurd to me. Bernadette, a transsexual, stays with the man she wants to be with in Alice Springs. Felicia, Mitzi, and his son return to Sydney, where the boy will be raised by drag queens (which he is fully accepting of). Neither of these cases appear to be “normal� patriarchal roles, aside from Mitzi accepting his responsibility as a father (which he has neglected for several years), but they leave without the “subservient mother�, a key part of the traditional family model. The focus on the community is emphasized, but it is a queer community, severely departing from the traditional idea of a community, what I would envision as a neighborhood gathering for a block party. To me, there is no real “return to masculinity� in this film; in fact, when Mitzi attempts to ‘play’ the strong, outback man for his son, he rejects that version of his father, preferring the softer, more feminine, and most importantly real and true version of his father.

Posted by Rita Racine at 7:39 PM | Permalink | Comments (0) | TrackBacks (0)

"It's funny, we all sit around mindlessly slagging off in that vile stink hole of a city, but in some strange way it takes care of us. I don't know if that ugly wall of suburbia has been put there to stop them getting in or us getting out."

I agree with Aitken and Lukinbeal in that the liberatory aspect of the road for masculinities in 'Priscilla Queen of the Desert' are suppressed by the return to hegemonic masculinities. In this movie the bus, Priscilla, is their safe-haven and where they are most comfortable. Back home in Sydney they are not an unusual spectacle, but the road leading out of Sydney brings nothing but homophobic responses. The gaze on this movie is a heirarchical one. The fact that their bus breaks down is ironic because it demonstrates how immobile they are because of their sexuality.

I believe that there was definitely some change within themselves after this trip. It was a period of growth for all of them in different ways, and although they felt liberated at the end, take Tick and his son for example, no matter where they go they are approached with homophobia, everywhere but Sydney. And sadly, people don't change. Sydney just protects them.

Posted by nels5199 at 7:05 PM | Permalink | Comments (0) | TrackBacks (0)

"Male hysteria is a disassociation from hegemonic masculinity, and its allegory, the road movie, is a spatial performance of the disenfranchised spirit. In road movies we see the flight of the phallus through motorized escape: castrated from hegemonic masculinity." (Aitken and Lukinbeal).

I agree that the liberatory aspects of the road for masculinities are suppressed by a return to the logic of hegemonic masculinity. The road serves as an escape for Mitzi, Bernadet, and Felicia but ultimately they are going to return to the same male dominate society they had left. Priscilla plays a major role in this film, for the bus gives them an escape from the homophobic world that surrounds them while they are in the desert. It is their sanctuary and they are not afraid to express themselves while in the bus. Hence why it is full of their drag costumes and alcohol. Also, this is evident in the scenes of Felicia sits atop her giant high heeled shoe on top of the bus with yards of fabric trailing behind her. When the bus reaches its final destination, Mitzi's estranged wife's hotel, we see him attempt to go through a transformation in order to become apart of the hegemonic male society. He dresses differently and does not know how to act around his son for fear of letting Ben know he is a drag queen. The twist is that Ben already knows and that he is fine with it, whatever makes his dad happy is fine with him. I feel like Mitzi and Felicia do suppress some of their feelings for fear of the male dominate society, but I also feel that the road gave them something, confidence perhaps. I see this because at the beginning of the film Mitzi was hit with a pop can after her performance and did nothing, but at the end when they perform again the crowd is extremely into it and cheering for them indicating that they did change something, not in society, but within themselves.

Posted by Susie Q at 9:32 AM | Permalink | Comments (0) | TrackBacks (0)

Although Aitken and Lukinbeal bring up some interesting and valid points about potential liberation being suppressed in Adventures of Priscilla,Queen of the Desert, i don't fully agree with these views. After watching the movie, i felt that the road did encourage a sense of liberation from hegemonic masculinity for the three protagonists. This is seen most drastically in the final scene when Felicia and Mitzi perform back home in Sydney. Mitzi's son is there supporting them as well as an exuberant crowd and both Felicia and Mitzi look genuinely happy. They know they may be different than the "norm", but their journey on the road has solidified a sense of contentment with their identity, enough that they're back on the stage performing after the disaster act in Alice Springs. Bernadette is a strong, dominant figure throughout the film. She stands up to the men that try to assault Felicia and does not back down. They all feel the pressures of society and disagreement with their lifestyle, but in the end they put their own happiness first, not giving in to patriarchal ideals. Bernadette ends up with Bob, a couple that defies hegemonic masculinities, and Mitzi takes his son back to Sydney and is honest and open about his identity. His son won't grow up in the traditional, patriarchal home, but both Mitzi and his son appear genuinely happy by the end of the film.

Posted by sigmundfreud at 2:06 PM | Permalink | Comments (0) | TrackBacks (0)

I agree that the hegemonic masculininty is surpressed in Priscilla Queen of the Desert. The "men" that are traveling across the country are completely set with their way of life and their values. In the same aspect, even though Mitzi has a son, he tries to change himself to become the stereotypical father, but later abandons this show because he cannot change who he truly is, masculine or not. The search for maculininty is not seen by Bernadette either as she wishes to become the girlfriend and lover of Bob. She has no ambition to become the normal masucline man that has been determined by societty.

Posted by Alexandra Goldman at 1:35 PM | Permalink | Comments (0) | TrackBacks (0)

"As a classic road movie, Priscilla--the omnibus and omnipurpose--contests some of Western society's dominant narratives on sexuality, family, and home but, ultimately, we argue that it falls short of a liberatory masculinity. Kaja Silverman suggests that Western patriarchial logic requires an unwavering faith in the unity of the family and the adequacy of a male subject who is in place and taking responsiblity," (Aitken and Lukinbeal 350). I would have to agree with both Aitken and Lukinbeal's ideas about Priscilla, Queen of the Desert, and how it doesn't quite portray a sense of liberatory masculinity. Even though the characters seem to be branching out and not conforming to societies traditional male beliefs, they are still conforming in one sense or another. They are not completely free from what society has demanded of them and their gender identities. If we were to discuss and look at Silverman's ideas about Western patriarchial beliefs we would see that the film is not branching out and liberating itself from these beliefs but that it is conforming to these beliefs, especially in the sense that Tick is trying to make his family his number one priority. He is trying to be a good and traditional role model for his son...even though he might do some untraditional things. Overall, I think this movie did a great job of trying to break out of a specific mold and liberate masculinity, even if it didn't fully succeed.

Posted by bella at 7:52 PM | Permalink | Comments (0) | TrackBacks (0)

"Aitken and Lukinbeal in Disassociated Masculinities and Geographies of the Road argue that the potentially libratory aspects of the road for masculinities in Adventures of Priscilla, Queen of the Desert are suppressed by a return to the logic of hegemonic masculinity." Overall, I do believe that there are pressures from the outside society that did encourage the group to act within the logic of hegemonic masculinity however, their ambitions are not ultimately suppressed by oppressions.

First, we must define what hegemonic masculinities is. It is basically the belief of society of how a male should behave. In this particular movie, we can see an abundance of societal pressures that alienates the group for being who they are. For example, we see the group being discriminated by some bigoted woman in the bar. The group's bus is painted over with offensive words. Also, Adam Whitely / Felicia Jollygoodfellow is chased by a man who disagrees with their practice as a drag queen. These are all examples that Aitken and Lukinbeal can use to support for their thesis that the potentially libratory aspects of the road for masculinities in Adventures of Priscilla, Queen of the Desert are suppressed by a return to the logic of hegemonic masculinity. The question to ask is whether the characters themselves are really suppressed or are they able to fulfill their ambitions to being the best drag queens.

Bernadette Bassenger is certainly the beacon of strength in the group as he comes to the rescue of the members whenever anyone threatens them. For example, he is able to stand up and defend his friend, Adam Whitely / Felicia Jollygoodfellow when some people chase and threaten him. He defies any societal suppression with courage. Adam Whitely / Felicia Jollygoodfellow similarly follows his ambitions even with jeering crowds at his drag queen shows. The character that would come to mind to most people as being an example of potentially libratory aspects of the road for masculinities being suppressed by a return to the logic of hegemonic masculinity would be Anthony "Tick" Belrose / Mitzi Del Bra. Anthony seems to become a "real man" again when he finds his son and his son accepts him for who he is. Although Anthony does hide his profession for a while, he is ultimately undeterred and strengthened when his son accepts him for who he is. Anthony was not necessarily concerned with what society thought of him. Anthony continues to do the things that he loves so as long as his son accepts him. Overall, the drag queens are being suppressed by society throughout the movie however, the suppression does not change who they are and what they want to do.

張惠妹

Posted by 張惠妹 at 1:10 PM | Permalink | Comments (0) | TrackBacks (0)

I would agree with what Aitkin and Lukinbeal claim that the liberatory aspects of the road are suppressed by a return to the hegemonic masculinities. They say that,

Dominant hegemonic "reality" is maintained through viewing a strict boundary between the internal and external, between the self and other.

Posted by Irelandfanatic at 10:45 AM | Permalink | Comments (0) | TrackBacks (0)

The patriarchal gaze and male hysteria does indeed emasculate human subjectivity. There is escalating insult and injury from ignorant people who feel their own sexual identity is threatened by the girls' expression of gender identity; from jests at a bar to spray-painting the bus. To me Felicia seems almost as ignorant by mocking Mitzie for being married and having a child. Even though these are ways of life that fall under patriarchal logic, choices regarding marriage and children are just as personal as choices of sexuality and gender expression. Although, I appreciate Felicia's use of humor to deal with the trauma of a pedophile uncle uses his mother's ignorance to purchase the bus. The road outside of their urban home in Sydney reminds the girls of how exposed they are. They feel trapped in the van even though it provides sanctuary against the infinite road and geographical bigotry. Their haven from the bus is called the "Underground Hotel" signifying that they are still aware of the oppression found on the road. This can also be seen when Bernadette walks into the desert alone to find help for the broken bus. She is totally exposed to nature and the ignorance of the men who rescue her and then proceed to drive away. As American outsiders, we are also aware of Australia as an isolated, island continent.

Posted by schw0918 at 10:44 AM | Permalink | Comments (0) | TrackBacks (0)

I agree that the potentially libratory aspects of the road for masculinities in Adventures of Priscilla, Queen of the Desert are suppressed by a return to the logic of hegemonic masculinity. The dominance of masculinity is blatant in this film. When Mitzi, Felicia, and Bernadette enter the first small town, they are met with resistance. In the bar, a woman approaches the three of them and says, "We've got nothin' here for people like you." After the the initial hurtful remarks are made, the small-town people begin to enjoy the company of Mitzi, Felicia, and Bernadette. It seems that progress has been made, then they see that their bus has been spray-painted with insulting profanities. In another small town, Felicia is attacked when the men find out she is male. Mitzi, Felicia, and Bernadette challenge the masculine norm with their excessive femininity and they are met with opposition and ignorance along their road trip.

Posted by felicia at 10:41 PM | Permalink | Comments (0) | TrackBacks (0)