Abstract
John Greyson's Zero Patience (1993) de-scribes oppressive inscriptions of homosexuality by appropriating and subverting hegemonic systems of representation, such as the documentary and the Hollywood musical and horror genres. Drawing on the work of Louis Althusser, Richard Dyer, Lee Edelman, and Jean-Pierre Oudart, this essay provides an ideological mapping of the film's queer discursivities and genre codings to consider Greyson's dismantling of the spectral gay other constructed by a white, male heteronormative and homophobic camera eye.
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