ИНТЕРСЕКЦИОНАЛЬНОСТЬ И НЕОПРЕДЕЛЕННАЯ ПОЗИЦИЯ ЗРИТЕЛЯ

Abstract

This paper analyzes intersectionality (constitutive relationship of socially significant categories), on the one hand, as a discursive organization of film structures through which viewers’ identification with the characters on the screen is produced, on the other hand, as an analytical focus in the structures of identification. Cinema works with intersectionality, but sociological models are not suitable for analyzing films in which, for example, genre logics is important, which theories of intersectionality fail to take into account. Cinema also has the capacity to reflect on intersectionality itself, producing an indeterminate viewer stance, which I propose to call queer pleasure. Using the example of Neil Jordan’s thriller “The Crying Game” (1992), the article describes how genre cinema, despite its traditional stereotypical structures, has the aesthetic capacity to destabilize the “male” gaze and thereby the heteronormative identity of the spectator. It focuses on the epistemological uncertainty produced by the inversion of intersectional relationships and the inconsistency of narrative and visual levels, which forces the viewer to question their looks and constantly revise what they see without, however, violating genre logic. Thus, this film connects a political conflict with structures of desire and identification of the spectators. This analysis is undertaken to reconsider L. Mulvey’s famous theses on the potentiality of genre cinema and to complement them with an analytical focus on the structures of intersectionality.