Abstract
Homonormativity has become a key concern in contemporary queer studies. The term refers to how LGBT politics have turned away from critiquing the values and institutions of heteronormativity towards seeking inclusion within these values and institutions. Through the analysis of Andrew Haigh's 2011 film, Weekend, this paper argues that queer studies needs to consider not simply the politics of homonormativity, but also the affective and emotional attachments to it. We cannot imagine viable alternatives to homonormativity otherwise. I contend that homonormativity takes its hold through ‘romance’, which I define as a set of affects and emotions that construct couple-hood and marriage as the good life. Still more, I show how the rejection of homonormativity is not necessarily politically progressive, as it can depend upon the assertion of individual autonomy in its entanglement with class, race and gender privilege. Ultimately, this paper complicates debates about homonormativity by considering its affective and emotional allure.
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