Singing Utopia: Body and Voice in Boys Don’t Cry, Orlando, and Una Mujer Fantástica
Keywords:Film, Trans Studies, Boys don't Cry, Orlando, Una Mujer Fantástica, gender identity and representation
In this article, I analyse how gender identity is represented and constructed in Kimberly Peirce’s Boys Don’t Cry (1999), Sally Potter’s Orlando (1992), and Sebastian Leilo’s Una Mujer Fantástica (2017). Taking from Muñoz’s theories of queer futurity and performance, I argue that the focus on the singing voice displayed in Orlando and Una MujerFantástica, particularly when it comes to transgender and/or gender-bending characters, indeed constitute a powerful representation of queer futurity, in its never tangible performance of queer world-making that takes away the focus from the physical body and its concrete reality.
Copyright (c) 2021 Eleonora Colli
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Whatever is an open access journal, which means that all articles are available on the Internet to all users immediately upon publication. Our articles are published under the terms of the Creative Commons Licence 4.0 by-nc, which permits use and distribution in any medium, provided the original work is properly cited and the use is non-commercial.
Authors hold copyright without restrictions. Also, authors retain publishing rights on their articles; however, it is recommended to keep track of the CC-BY-NC license and to quote original publication.