ISSN: 20555695
First published in 2016
3 issues per volume
Volume 2 Issue 2
Cover Date: June 2017
A fantastic fabrication of Weimar Berlin: Queer nostalgia, timeless memories and surreal spatiality in the film Bent
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Authors:  Gilad Padva 
DOI: 10.1386/qsmpc.2.2.167_1

Bent,camp subculture,New Queer Cinema,nostalgia,spatiality,thirdspace,Weimar Berlin

The extravagant opening sequence of the film Bent directed by Sean Mathias (1997) fabricates a promiscuous gay venue in the mythic 1930s Weimar Berlin. While Greta’s club is completely fictional, the megastar Mick Jagger’s drag show in this sequence queerly transcends spatiality and temporality. Greta/Jagger not only anticipates the persecution and annihilation of gay men in Nazi Germany but also elegizes modern queer subcultures and their often destructive self-indulgence. This sequence is a flamboyant return to the pastness of queer past that aesthetically represents a radically different queer contemporariness. The screening of queer nostalgia in this decadent opening sequence creates an allegorical space, a psychedelic modern Babylon or a sort of uncanny ‘thirdspace’, a physical and mental space at the same time. The fantastic venue is interrelated with displacement of cultural production, reinvention of collective memory, queer melancholy and, particularly, camp performativity and a new vision of nostalgia as drag show.
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