Singing Utopia: Body and Voice in Boys Don’t Cry, Orlando, and Una Mujer Fantástica

Authors

DOI:

https://doi.org/10.13131/2611-657X.whatever.v4i1.89

Keywords:

Film, Trans Studies, Boys don't Cry, Orlando, Una Mujer Fantástica, gender identity and representation

Abstract

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.

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Published

2021-06-30

How to Cite

Colli, E. (2021). Singing Utopia: Body and Voice in Boys Don’t Cry, Orlando, and Una Mujer Fantástica. Whatever. A Transdisciplinary Journal of Queer Theories and Studies, 4(1), 511–520. https://doi.org/10.13131/2611-657X.whatever.v4i1.89

Issue

Vol. 4 (2021)

Section

Languages, Aesthetics, Bodies: The Queer Within Cinema and Audiovisual Media

License

Copyright (c) 2021 Eleonora Colli

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