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Feminist Media Studies Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t713700978 Gotta Have An Effeminate Heart Gilad Padva; Miri Talmon

Online Publication Date: 01 March 2008 To cite this Article: Padva, Gilad and Talmon, Miri (2008) 'Gotta Have An Effeminate Heart', Feminist Media Studies, 8:1, 69 - 84 To link to this article: DOI: 10.1080/14680770701824910 URL: http://dx.doi.org/10.1080/14680770701824910

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Dyer 1991; (Dollimore resistance counter-cultural style: a of as kind Camp” particular on a style—but “Notes of in terms Sontag in Susan world the by of defined vision was Camp homosexual.” effeminate; akBbsi dnie apwt ue ucluebsdon based subculture queer with camp identified Babuscio Jack identification. and sympathy great with interviewees gay Israeli Lemish her particular, by In 60). to Eurovision p. 2004, uncritical specifies (Lemish ‘serious’ 54) camp” of glorified p. as (2004, taste music musical same the that adore down yet her put fans claimed “they have Moreover, and own. International Dana their transsexual as the applaud homosexuality also associate they to some femininity, attempts Although against with Israelis. struggling shameful) be (or to their proud seem also by interviewees are Lemish’s connected they of are time, same fans the contest’s at the but, that identity, gay contends men, gay contests. 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Eurovision more his much French is with gayness Nohav’s living the of Enfant,” perception and Hebrew Un nostalgic Tree”) Aharoni’s Jour, Hannah Pomegranate “Un 1950s, Boccara’s (“The the of Ha’Rimon” diva Israeli “Etz the song of sounds the to lover his fail” who chose who those to happens what them (ibid). showing by manhood toward struggle euiu nvrl e ssmtigfmnn;wa sms euiu nfmnn oe is 56) women feminine p. in 1999, beautiful ([1964] most is masculine. what something feminine; something is men virile in beautiful ue hoit mhsz h oiia feto ap sagysniiiyand sensibility gay a as camp, of effect political the 117–118). emphasize pp. 1999, theorists ([1978] Queer gayness. one’s directed, a of shaped, colored, fact mainstream; is the which by the world the defined of from and perception fact a the different short, from in spring oppression; is that social feeling of of that complications human consciousness certain of awareness a heightened reflecting energy creative sensibility Camp of images things-being-what-they-are-not great of the “off”, of the one exaggerated, certainly the is of androgyne love the is It the in defined is Camp Subculture Camp and Effeminacy Performative eih(04,i e td ftepplrt fteErvso ogContest Song Eurovision the of popularity the of study her in (2004), Lemish with dancing lover, male a with relationship romantic a about fantasizes Nohav While ... ’ or.I a ols oatlk i. hsamsino i ii oa(probably) a to visit his of admission This did.” I like act to foolish was It sorry. 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The 75 Downloaded By: [Tel Aviv University] At: 07:34 18 March 2008 76 uens eidhsmsuieadargn appearance: arrogant and and masculine gay his Israeli behind the queerness Alternatively, identity. magazine gay oriental monthly of lesbian institution the for space no leaves eels hn“elmn”cniulyrivne themselves: men’s reinvented they gay continually culture men,” mainstream did by “real of too told than men, images less so gay were mainstream suggests century, Bronski As twentieth Michael themselves. 1998). the of images (Bronski during century changed public and masculinity nineteenth style with heterosexual early community entirely almost the gay concerned the man in “dandy”—a masculinity—and and the presentation imagination of prescribed birth popular the against as the otherness. early both as revolt his in camouflage deportment—a conflated to were and tries homosexuality dress never particular, in in “Effeminacy” Nohav, masculinity. of paradigms efrac rasto in.I satetia aclnt,triggne noa into gender turning masculinity, theatrical signifying a Meritto, a in of is stud objectification oriental as western bisexual It muscular the masculinity dark, that signs. the contends (2004) reflexive of Yosef Raz self-conscious, set fiction. performative a a or performs unlike particular, performance macho, in macho, gay straight the that maintains the (1993) Dyer optional. hetero-normative nor natural the neither of former typical sexualities. masculine homo- polarities the and binary hetero- Guri, top-bottom, the and masculinity-femininity, deconstructs regime: stud, Fox hyper-masculine soldier, the masculine chauvinist combat Maritto visualizing a In between be cover. to hyper-masculine desire a appears under the also bi-sexuality he his but hide to queer, managing “look” womanizer, not Guri. Maritto intimidate does not Guri’s does only mirrors masculinity gayness Not tough Nohav campy Maritto’s effeminate eccentric, contrast, Nohav’s the In him. to homosexuality. by repressed attracted threatened both time, same is the fighter, at unit and, combat and guy straight allegedly Teterm (The ue esetvsadatraieeoi identifications. erotic to exposed alternative of rarely and are discussion which perspectives queer audiences queer mainstream a wide mediate to identification they sexual Notably, and gender codes. and heteromasculine conformity the of of degrees gay different transgression embody Israeli protagonists male the three in The homosexualities. man gay effeminate an from derived for possibly nickname itself, community a sissyphobia—is and sissiness IA AV N IITALMON MIRI AND PADVA GILAD o eie st i h id oeat edrlv fNhvthe Nohav of love tender tolerant, Guri kind, all the and win away, fades to machismo is of act desires glorification sexual now the the complete, When is screen. in initiation television ‘nerd’ Guri’s Israeli young over, the the is on by broadcast penetrated ever is scene macho daring straight most Israeli the the as performs who male This in masculinities Israeli of mainstream revision to Uchovsky’s 99) and responses p. Fox (1998, are In parodies. shapes sometimes and and critiques, often styles are shifting they culture; These new sought presentation. always has of culture gender male new ways gay imagined wit, and and imagination, improvised style, they Through identity, possibilities. gender traditional to access Denied Heart Have Gotta edr sBte 19)nts sapromtv feto etrtv cswihare which acts reiterative of effect performative a is notes, (1990) Butler as Gender, aa aa Lev Ba’al Ba’al Okh’tch cetdadrpoue ihnteIreigycmuiyspltc of politics community’s gay Israeli the within reproduced and —created qal ersnsMrto uiadNhvsmsuiiisand masculinities Nohav’s and Guri Maritto, represents equally secsiecm eteiscalne h oiladcultural and social the challenges aesthetics camp excessive ’s aZa Ha’Varod Ha’Zman akhotti ot aeHeart Have Gotta h erwfr“ysister”.) “my for Hebrew the , ( h ikTime Pink The seeyn’ beto desire, of object everyone’s as a mhszdMaritto’s emphasized has ) ot aeHeart Have Gotta okh’tch . ui the Guri, , Downloaded By: [Tel Aviv University] At: 07:34 18 March 2008 ttmnsrgrigmrtladprna uiscnas ese nadfeetlight. different conservative a in Mitzi’s seen However, be also agenda. can she duties national Apparently, parental militarist and army. marital Israeli the and regarding marriage the in to statements self-realization in to and her soldiers subjects that reproduction, good order bear patriarchal to become the is to her both will “duty” to succumbs her confined that which is in children she agenda, aspirations, traditional healthy and the can they maintains roles Whereas that macho choose. position to or free conservative male herself traditional not is their and against chosen, partners, be rebel dance to their passively social choose wait to to ensure free has are Mitzi protagonists will male the that Whereas dramas protagonist. children female romantic have of and protagonists married, 2001). (Rubinfeld female get coupling through obey, that regeneration she to dictates Apparently, 35. yearn of patriarchal settle age to the conventionally the by willing husband is a with find she not partner, does complies she male if a him, with for children about longing have knows and his she and Although (homo)sexuality soldiers.” closeted brave Guri’s healthy “many produce explains—to of cynically reconceptualization a 45). p. to 2004, lead (Thompson could family hag identification on of of fag and than politics community on radical rather such modeled process, of that one believes possibilities self-conflicting politics, the sometimes on identity value what plural, new primary only put A not would men. is identification, she who hag gay importantly, fag more with—namely, and the rather, identifies woman—but, defines straight a what as—usually identified that is she notes She hetero-patriarchy. challenge out: points Maddison Stephen As meet. first a they that when remarks women Button straight Further, and 46). men gay p. 2000, attention. (Button unthreatening fashion” and frisson in flattering was of a haggery center as often “Fag the more themselves 1990s Hence, where find and the fun would world on in they a was to not emphasis reclaimed friends the than where female was men, their by it introduced harassment men sexual terms, Gay from pride. derogatory free with many worn be so to term like stereotypic But around hang men.” to “fag enough “real heart. Guri’s attractive her not with is break considered were and cat, who nights pet women at at a directed fire dismissively of her can light typical city will big name who the a lover what passionate with a experience woman for and young longs Aviv the who Tel hag,” Mitzi, to and move being him; and to loving to hopes the of offer dreams Maritto student; and man; art Academy, a Art future the by a to loved and accepted be soldier to combat hopes former Guri about man the fantasizes young Guri, Nohav with youngster effeminate relationship The romantic love: a for yearn whom of all protagonists, hs tfis lne hsfimisrbsaseetpcl ecinr eiierl nits on role feminine reactionary stereotypical, a inscribes film this glance, first at Thus, she her—as help will who genes” “good with husband good a for hopes Mitzi to “potential” the has fag-haggery that suggests (2004) homosocial Thompson the contrast, by circumscribed In 194) are p. (2000, identities regimes. our those way uphold the the that is have of narratives regimes we hetero-patriarchal function sistership within a The oppression as ones. mutual our queer “queered” of indeed virtue are by we share then to “sisters,” potential are fags and hags If USA, the in 1960s late the to back dates hag” “fag term the (2000), Button to According of space liminal the In Hag Fag Agonized an of Dreams Subversive fsxa itto,o oekn fsxa yais osi atotnocrbetween occur often fact in does dynamics, sexual of kind some or flirtation, sexual of ot aeHeart Have Gotta OT AEA FEIAEHEART EFFEMINATE AN HAVE GOTTA l pin emt eoe o h four the for open be to seem options all , identity identification rpr Thompson proper. sa active, an as 77 Downloaded By: [Tel Aviv University] At: 07:34 18 March 2008 78 h itnto ewe h w scnetd siae otdi e vvsbohemian Aviv’s the and Tel inhabitants in bohemian yuppies, rooted urban images with media as Israeli contested, the is in associated two districts, the between or distinction The polka-dotted flowery, locale, the gay through the and times sets, past yellow blouses. of embroidered warm and naivety and frocks art the pastel-colored checked (the the signify Arad’s Sigal mostly that in film, reflected costumes this also are for 1960s designs and 1950s director) The Boccara. Frida singer French eaesnesdvsfo h 90,sc sHnaArn wobogtIreifl songs folk Israeli brought Israeli of (who style Ahroni Warhol Hanna Andy the as in to such prints 1950s, art soft the huge “Hobby” from flavors; as orange singers/divas and such female cola brands in domesticate Top” “Tip and or “Israelize” drinks, that 1950s the order. the from of cultural commercials cult heteronormative past, and gay cultural masculinist sub-cultural the the Israeli resists and which realm, mythical past, connotative and Eurovision culture a retro the rock of and world hybridizes 1950s a pop is harmonically 1950s by It American (inspired reds. that and colorful yellows imageries, warm the in floor, nostalgic stands ice-cream folk-dancing and cheerful dog hot the America) with past, Israeli revised, fvsblt n eairi otmoayAeia uuba(e ihrsn2006). Richardson (see grotesque codes suburbia hegemonic Her American the contemporary America. subverts in and behavior 1950s ridicules and duties of visibility parental series and of values marital television her nostalgic of American out traditional playing the with in mixed character mannerisms Bree’s of Housewives excess the resembles self-realization of sphere personal fulfillment. private, which the romantic to norms, and sphere cultural boundaries, hegemonic traditional national, revises gender the that from challenges agenda shift cultural that Israeli resistance, aesthetics post-masculinist of postmodern a politics and reflexive a Her the both counterparts. within male illuminates “entrapped” manner, gay is however, her campy she as much perspective, a as posing this order In From performativity, patriarchal Charming. society. subversive her Prince bourgeois of for a waiting awareness the woman creating ironic in an position, roles performance reflects “puppet-on-a-string” gender This Mitzi traditional her her. on of around perspective townspeople awareness the Mitzi’s of reflects nostalgic dancing traditional, and Edna gesturing folk to excessive lip-synchs with East-European-Jewish sings sings voice, Mitzi singer’s fancy woman, envy. female a girlfriends’ original Jewish shoes, her the stiletto of ultra-Orthodox Goren, her object buy the young become will her who a help husband, “big-hearted and generous Leml, dress, and Hebrew: kind Kuni a of for in wishing bride her (meaning about future Lev” the film, Ba’al latter “Ba’al from quoted song Sakhar, Moshe out. by Hebrew husband”) played nostalgic be must the that charade song, ironic elaborate an an in as her perceived by expressed be are might children what raise and in husband manner a get to imperatives social The IA AV N IITALMON MIRI AND PADVA GILAD yicroaigtecnetoso h olwo uia er noa Israeli an into genre musical Hollywood the of conventions the incorporating By h cinlwrdof world fictional The “Pastness” Effeminate and Memorabilia Hybrid h l scaatrzdb ooflvsa eoaii fte15sad17s Israeli 1970s: and 1950s the of memorabilia visual colorful by characterized is film The ute,Mtismdae dsar”hrecsie harclyann o husband a for yearning theatrical excessive, her “despair,” mediated Mitzi’s Further, theme film’s the of performance drag campy her in particularly expressed is irony This dSlia Show Sullivan Ed h eprt oswf reaot pe-ls,ped-rts aristocratic pseudo-British upper-class, adopts Bree housewife desperate The . ot aeHeart Have Gotta ,YfaYroiadSohn aai swl ste16sEurovision 1960s the as well as Damari, Shoshana and Yarkoni Yaffa ), ot aeHeart Have Gotta rae yrdrami-ewe etradmargins. and center in-between realm hybrid a creates w uiLemls Kuni Two ersnsa piitcvso farmd,or remade, a of vision optimistic an represents 16) nacnrleioei the in episode central a In (1966). sif as h eeapassive a were she Desperate Downloaded By: [Tel Aviv University] At: 07:34 18 March 2008 lentv ainlaed,tehrieMtiaprnl eoe elzto fNohav’s of realization an a symbolize becomes and apparently in masculinity Mitzi men of heroine gay vision the the alternative agenda, While an national realize string.” alternative to a possibility on the “puppets have like film feeling the partner, male a for need desperate traditional, the to battlefield escape demanding national sphere. the to from familial away private, turn attempt more to the 1990s, its late the challenging of In culture identity, Israeli patterns, order. collective masculinist utopian effeminate militaristic and The alternative nationalist hierarchies. and an sexual masculinistic reflects its film hegemonic, challenges the and that of of identity order imagery vision collective masculine retro alternative and The an history and agenda. Israeli past collective the Israeli of the remake challenges critical a both past. yields the radically of revision their in rewrite to try films nostalgia uia,tehg iaiosta omoe the over loom that In icons colorful past. this diva visual of land same huge fantasy the naive the of and part utopian musical, the organic into an appropriated are past, artists multi-layered Both this Boccara. folk Frida Israeli singer French traditional-rural the sensual. the and and authentic, natural, subculture so queer seemed never urban, merging has The worlds—the culture Israel. rural two traditional, the these to belong of that images with merge community, gay hc nevldtdteptra infir Ced19,p 7) ti h alr fthe of remade failure the the from mother is phallic It the 473). that of is p. power films 1994, these the (Creed of and signifier” heart figure paternal the of paternal at the myth lies was the validated that identity by once past’ gender established which ‘missing contract which “the social in Furthermore, the order love. validated imaginary romantic that an order American relive imaginary Hence, to 373). an desire p. secured, (1994, a predictable satisfy when and films “time” stable, a nostalgia relive defined, to clearly desire a were invoke roles heroines, gender distressed and heroes valiant its with serial, and heroes American true villains, “alien distress.” with in awash heroines serials adventure 1950s as the such and other 1930s of films Ark forms in Lost versions, sees cinema the He past historicity. of American of (of Raiders in sense quotation lost manifested a retro on of and symptom rely in a nostalgia as that example Jameson films by for viewed 20). for is past, remakes) p. culture missing American 1991, a in (Jameson appropriate preference history to films “real” nostalgia displaces Graffiti American American styles intertextual of aesthetic and attempt citations of The visual history Through a of depth. connotations references, the pseudo-historical of operator a the as creating and “pastness,” effect aesthetic the of its feature built-in and deliberate, sphere, private the symbolizing culture, thus Eurovision glamour, the pleasures. and evokes material fashion Boccara fun, Frida singer prioritizes French which The endeavors collective cohesion. national 1950s: communal and the social and of their countryside and Israeli farmers the hard-working evoke ascetic, Yarkoni collectivist, Yaffa the and Whereas Aharoni agendas. Hannah cultural singers and Israeli cultures, decades, distinct two suture they denominator; h ia nti l,hwvr aietpsiiy akn rsnigaottheir about singing or talking passivity, manifest however, film, this in divas The musical TV Israeli the films, American latter the from Differing oa atszsaotajitcnetb h sal eaesne an hrn and Aharoni Hanna singer female Israeli the by concert joint a about fantasizes Nohav re rusta h nesl oaie edrrlso h otli adventure nostalgic the of roles gender polarized intensely the that argues Creed a as functions intertextuality postmodernism, in that maintains (1991) Jameson 17)or (1973) 18) hs ls codn oCed(94 .33,rivn the reinvent 373), p. (1994, Creed to according films, These (1981). oyHeat Body 18) h ooiaino h meit at n the and past, immediate the of colonization the (1981), ot aeHeart Have Gotta OT AEA FEIAEHEART EFFEMINATE AN HAVE GOTTA iee sce en mise eosrtstenwted in trends new the demonstrates ` ne ot aeHeart Have Gotta ucina common a as function trWars Star ot aeHeart Have Gotta l noir film 17)and (1977) htthe that rewrites 79 Downloaded By: [Tel Aviv University] At: 07:34 18 March 2008 80 ROO JOSE ARROYO, GRAFFITI AMERICAN AFTER agenda national the criticize husbands. effeminate to and housewives, and desperate sexuality peace, and and war concerning masculinity of conceptualizations show “drag” campy theme flamboyant the excessive, of subject-positioning. an performance patriarchal star in such reflexive female criticizes Her however, revered frame. husband,” typical fetishizing a “Big-hearted her like song in lights, blue trapped by 1978), colored (Haskell divas, objectified and fantasized RS,ARIEL BROSH, MICHAEL BRONSKI, drama) (musical CLUB HEARTS BROKEN THE DAMAGE BROADWAY JOSEPH BRISTOW, DANIEL BOYARIN, HEAT BODY KISS SCREEN HOLLYWOOD BILLY’S TIM BERGFELDER, JACK BABUSCIO, unnhmfo alr&Facs n am a tTlAi university. Aviv Tel at paz Naomi and Francis, & Taylor from Cunningham visual Israeli contemporary of product cultural a As interrelations classic innovative future. queer of creates media, and integration filmmaker a present unique the past, rather, this aesthetics, between In or, camp “Israelized.” and “queerified,” becomes iconography icons becomes Israeli and accessories images of and repertory artifacts memorabilia, past ( IA AV N IITALMON MIRI AND PADVA GILAD n ilr yk rdcr:FacsFr opl n ayKrz nvra;19min. 109 Universal; Kurtz; Gary and Coppola Ford Francis producers: Hyck; Willard and n oehMdltn anrEtranet/Sn itrsCasc;9 min. 94 Classics; Pictures Sony / Entertainment Banner Middleton; Joseph and ue eteisadtePromn Subject Edinburgh. Performing the and Aesthetics Queer eeihSotLn,DvdMslyadIeeTre;RvltoayEe 2min. 92 Eye; Revolutionary Turner; Irene and Moseley David Lynn, Scott Meredith neednsSocs ord eeFls/VlaeAtPcue;10min. 110 Pictures; Art Village / Films Fete de Jour / Showcase Independents Man r.la-a.tl( a.2004). Jan. (1 org.il/ab-may.html rdcr oi e-eae;Fl n VDprmn tTlAi nvriy 5min. 45 University. of Aviv part Tel a at also Department is TV film and This Film Ben-Menahem; Ronit producer: asal&Rbn tlel nelc ok,Eee,UK. Exeter, Books, Intellect Stilwell, Robynn & Marshall in identities national adCmay/Wre rtes 1 min. 113 Brothers; Warner / Company Ladd xtr UK. Exeter, in .Hget,GradPbihn,NwYork. New Publishing, Garland Haggerty, E. t atnsPes e York. New Press, Martin’s St. IEOFF TIME h uhr r rtflt rfso yti atrfrom Carter Cynthia Professor to grateful are authors The Heart Have Gotta REFERENCES ot aeHeart Have Gotta uias olwo n Beyond and Hollywood Musicals: (film) nvriyo aionaPes Berkeley. Press, California of University , 19)‘is nation’, ‘Sissy (1998) 20)‘ueigtefllr:Gneadter-rsnaino ooeult and homosexuality of re-presentation the and Genre folklore: the ‘Queering (2000) (film) ) 17](99 Tecnm fcm ( camp of cinema ‘The (1999) [1978] 20)‘ewe otli n mei:Msclgne n15sGra cinema’, German 1950s in genres Musical amnesia: and nostalgia ‘Between (2000) (1997) UA18) ietradsrpwie:Lwec adn rdcr rdT Gallo; T. Fred producer: Kasdan; Lawrence scriptwriter: and Director 1981). (USA 20)‘feiay,in ‘Effeminacy’, (2000) (film) (1998) mscldrama) (musical Ire 90.Drco:EtnFx citrtr:NtnBad&EtnFox; Eytan & Brand Natan scriptwriters: Fox; Eytan Director: 1990). (Israel UA17) ietr ereLcs citrtr:Gog ua,Goi Katz Gloria Lucas, George scriptwriters: Lucas; George Director: 1973). (USA neocCnut h ieo eeoeult n h neto fteJewish the of Invention the and Heterosexuality of Rise The Conduct: Unheroic h lauePicpe e,Bcls,adteSrgl o a Freedom Gay for Struggle the and Backlash, Sex, Principle: Pleasure The rae ytei tpa iin nwihteIreirpror of repertoire Israeli the which in vision, utopian synthetic a creates sstepwro h uia er ocalneconventional challenge to genre musical the of power the uses mscldrama) (musical a oa e Querer’, del Cosas Las osLf 5 Life Boys tes Nation Atheist UA20) ietr rgBrat;poue:Mce Liddell Mickey producer: Berlanti; Greg Director: 2000). (USA UA19) ietradpoue:Vco Mignatti; Victor producer: and Director 1998). (USA a itre n utrs nEncyclopedia An Cultures: and Histories Gay ietradsrpwie:TmyOHvr producers: O’Haver; Tommy scriptwriter: and Director . d ilMrhl oynSiwl,ItletBooks, Intellect Stilwell, Robynn & Marshall Bill eds , gytee nhlg)(2006). anthology) (gay-themed a,[nie vial t http://www.atheist. at: Available [Online] May, , d ai lt,EibrhUiest Press, University Edinburgh Cleto, Fabio ed. , aka in uias olwo n Beyond and Hollywood Musicals: apadtegysniiiy’ in sensibility)’, gay the and camp eiitMdaStudies Media Feminist d George ed. , d Bill eds , Camp: Mel , , Downloaded By: [Tel Aviv University] At: 07:34 18 March 2008 AEO,FREDRIC JAMESON, MOLLY HASKELL, DAYS HAPPY GREASE HAVEHEART GOTTA FISH GO NURITH GERTZ, FLORENTIN JOHN FISKE, JANE FEUER, ANYMORE FAIRY A BE TO WANT DIDN’T WHO FAIRY THE II EDWARD SHOW SULLIVAN ED RICHARD DYER, RICHARD DYER, ALEXANDER DOTY, JONATAN DOLLIMORE, HOUSEWIVES DESPERATE BARBARA CREED, SIMON BUTTON, JUDITH BUTLER, bubble) (the HA’BUAH racss hne 2. Channel Broadcasts; n oua Culture Popular and rs,Edinburgh. Press, in citrtr ailMcvr aainFl ete 6min. 16 Centre; Film Canadian MacIvor; Daniel scriptwriter: rs,Durham. Press, rdcr:Rs rceadGieeeTre;Wth/Ilt/KV aulGoldwyn Samuel / KPVI min. / 84 Entertainment; Islet Home Hallmark / / Entertainment Watch Evergreen / Turner; Cinemussy / Guinevere Company and Troche Rose producers: uia’ in musical’, nvriyPes Chicago. Press, University lr-aladAtoyRo;BC/BiihSre rdcin;Ewr I okn Title Working II; Edward Steve Productions; Screen producers: British min. Root; 90 / Films; Anthony BBC Root; and Anthony McBride and Clark-Hall Stephen Marlowe, Christopher Jarman, edrII Reader yia’ in typical’, rdcin oe e-a im cosyFx 0min. 90 Fox; Uchocsky / Films Metro Ben-Tal / Productions Ronen Feingold / Uchovsky; Productions Gal and Feingold Amir Ben-Tal, Ronen producers: aradRbr tgod aaon;10min. 110 Paramount; Stigwood; Robert and Carr d ereG agry aln,NwYork. New Garland, Haggerty, G. George ed. citrtr aa ey rdcr salsCanlTo ehtBodat;4 min. 46 Broadcasts; Keshet Two; Channel Israel’s Producer; Levy, Hagai Scriptwriter; d eieMhlFida,Nrt et,Ol ui udN’mn aut fArts, of Faculty Ne’eman, Judd Israel. & Aviv, Lubin Tel Press, Orly University Gertz, Aviv Nurith Tel Friedman, Mihal Regine eds e York. New (film) (film) ap ue eteisadtePromn Subject Performing the and Aesthetics Queer Camp: (film) tlvso rm series) drama (television (1987) tlvso series) (television 17](96 Terflxv uia n h yho netimn’ in entertainment’, of myth the and musical reflexive ‘The (1986) [1977] UA19) ietr adlKesr citrtr rneWoad rdcr:Allan producers: Woodard; Bronte Scriptwriter: Kleiser. Randal Director: 1994). (USA UA19) ietr oeToh;srpwies oeToh n unvr Turner; Guinevere and Troche Rose scriptwriters: Troche; Rose Director: 1994). (USA 19)‘ent eblee:Sm rbesi h ersnaino a epeas people gay of representation the in problems Some believed: be to ‘Seen (1993) 20)‘edradntoaiyi h e sal iea,in cinema’, Israeli new the in nationality and ‘Gender (2001) U 91.Drco:DrkJra;srpwies e ulr tv lr-al Drek Clark-Hall, Steve Butler, Ken scriptwriters: Jarman; Derek Director: 1991). (UK 19)‘ emt n h apns ek eeoeult n ac nthe in dance and Heterosexuality seek: I happiness the find to seem ‘I (1993) 20)‘etfriends’, ‘Best (2000) d ar et rn,Uiest fTxsPes utn TX. Austin, Press, Texas of University Grant, Keith Barry ed. , 19)‘rmhr omdriy eiimadpsmdrim,in postmodernism’, and Feminism modernity: to here ‘From (1994) (1978) (1990) tlvso uia rm)(97 [ (1997) drama) musical (television 20)‘im e ue iea,in cinema’, queer New ‘Film: (2000) (1991) tlvso series) (television h atro mgs saso Representations on Essays Images: of Matter The eeiinCulture Television ac,Gne n Culture and Gender Dance, Ire,20) ietr ya o;Srpwies a cosyadEtnFox; Eytan and Uchocsky Gal Scriptwriters: Fox; Eytan Director: 2006). (Israel, 19](99 Sxa isdne uutn oWle ru oFoucault’, to Freud Wilde, to Augustine dissidence: ‘Sexual (1999) [1991] tlvso series) (television rmRvrnet ae h ramn fWmni h Movies the in Women of Treatment The Rape: to Reverence From edrTobe eiimadteSbeso fIdentity of Subversion the and Feminism Trouble: Gender otoens,o h utrlLgco aeCapitalism Late of Logic Cultural the or Postmodernism, d onSoe,HretrWetha,NwYork. New Wheatsheaf, Harvester Storey, John ed. , UA17–94.Cetr ar asa;ABC. Marshal; Garry Creator: 1974–1984). (USA Ire 9720) ietr(1 Director 1997–2001). (Israel UA14–91.CBS. 1948–1971). (USA oteg,London. Routledge, , Attitude UA20–08.Cetr acCer;ABC. Cherry; Marc Creator: 2004–2008). (USA uy o 5 p 46–48. pp. 75, no. July, , d ee hms amla,London. Macmillan, Thomas, Helen ed. , mscldrama) (musical OT AEA FEIAEHEART EFFEMINATE AN HAVE GOTTA aa aa Lev Ba’al Ba’al a itre n utrs nEncyclopedia An Cultures: and Histories Gay d ai lt,EibrhUniversity Edinburgh Cleto, Fabio ed. , Cnd 92.Drco:Lui Lynd; Laurie Director: 1992). (Canada st n 2 and ya o,Drco;GlUchovsky, Gal Director; Fox, Eytan ] oteg,London. Routledge, , nd esn:EtnFx Tel’ad Fox; Eytan season): sahKolnoa Assaph ueUniversity Duke , utrlTheory Cultural Routledge, , imGenre Film Chicago , o.2, vol. , 81 , Downloaded By: [Tel Aviv University] At: 07:34 18 March 2008 82 ASAL BILL MARSHALL, STEPHEN MADDISON, KENNETH MACKINNON, END LIVING THE EMANUEL LEVY, DAFNA LEMISH, DAYS LATTER CHUCK KLEINHANS, A. THOMAS KING, JEFFREY UIFL,MR D. MARK RUBINFELD, AMIT ROMEM, NIALL RICHARDSON, RUBI B. RICH, ARK LOST THE OF RAIDERS POISON GILAD PADVA, GILAD PADVA, GILAD PADVA, GILAD GUIDE PADVA, USAGE ENGLISH & DICTIONARY OXFORD THE MOE MEYER, IA AV N IITALMON MIRI AND PADVA GILAD ilMrhl oynSiwl,ItletBos xtr UK. Exeter, Books, Intellect Stilwell, Robynn & Marshall Bill reo nteHlyodmscl,in musical’, Hollywood the in freedom oynSiwl,ItletBos xtr UK. Exeter, Books, Intellect Stilwell, Robynn mrcnIdpnetFilm Independent American eiitMdaStudies Media Feminist in bsdo ereLcsadPii afa’ tr) rdcr rn asa;Lcsl / Lucasfilm Marshal; Frank min. producer: 115 story); Pictures; Kaufman’s Paramount Philip and Lucas George on (based rneEePoutos/Pio .. 5min. 85 L.P.; Poison / Productions Eye Bronze Camp omncto Inquiry Communication ereBnee enfrSafradKrln ibl;FnyByFls Davis Films; Boy Funny Tibbels; Kirkland and min. Shaefer 107 Filmworks; Jennifer Entertainment Bendele, George a Culture Gay acsH n i tr;DseaePcue;9 min. 92 Pictures; Desperate Stark; Jim and Hu Marcus rdcr:Mr asm icelMxel itraMxeladPu unc;Orion Rudnick; Paul and Maxwell Victoria min. Maxwell, 92 Mitchell Classics; Balsam, Mark producers: oua Communication Popular Housewives ieai here’, is cinema otc fCamp of Poetics ree,Wspr,CT. Westport, Praeger, films’, att eaFiyAyoe,Cnm Journal Cinema Anymore’, Fairy a be to Want (film) mscldrama) (musical h oiisadPeiso Camp of Poetics and Politics The 19)‘nrdcin eliigtedsoreo ap,in camp’, of discourse the Reclaiming ‘Introduction: (1994) 19)‘ UE:Fo oot oBri oNwYr:Tewr sotanwgay new out—a is work The York: New to Berlin to Toronto From QUEER: ‘A (1992) (film) d o ee,Rulde London. Routledge, Meyer, Moe ed. , Fbur 98.‘si hudbe’, should it ‘As 1998). (February UA19) ietradsrpwie:Td ans rdcr hitn Vachon; Christine producer: Haynes; Todd scriptwriter: and Director 1991). 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Basingstoke, Houndsmills, Press, Macmillan , 20)‘skm sBe:Tepltc fcm eosdrdby reconsidered camp of politics The Bree: as kamp ‘As (2006) (2000) (2001) eiitMdaStudies Media Feminist UA19) ietradsrpwie:GegAai rdcr:JnGerrans, Jon producers: Araki; Gregg scriptwriter: and Director 1992). (USA 20)‘Ike ihn eesmweees” pc n atse of fantasies and Space else”: somewhere were I wishing keep ‘“I (2000) (film). Priscilla d o ee,Rulde London. Routledge, Meyer, Moe ed. , ilg Voice Village UA19) ietr hitpe sly citrtr alRudnick; Paul scriptwriter: Ashley; Christopher Director: 1995). (USA as asadQerSses edrDsetadHtrsca od in Bonds Heterosocial and Dissent Gender Sisters: Queer and Hags Fags, on oBn:Gne,Gne n h olwo oatcComedy Romantic Hollywood the and Genre, Gender, Bond: to Bound UA18) ietr tvnSileg citrtr arneKasdan Lawrence scriptwriter: Spielberg; Steven Director: 1981). (USA o.6 o ,p.25–45. pp. 1, no. 6, vol. , o.2,n.2 p 216–243. pp. 2, no. 24, vol. , o.2 o ,p.41–63. pp. 1, no. 2, vol. , gt ak h oiiiaino apsubculture’, camp of politicization The back: fights e okUiest rs,NwYork. New Press, University York New , 20)‘nrdcin,in ‘Introduction’, (2000) o.3,n.12. no. 37, vol. , d o ee,Rulde London. Routledge, Meyer, Moe ed. , o.6 o ,p.158–174. pp. 2, no. 6, vol. , 19)Ofr nvriyPes Oxford. Press, University Oxford (1996) uias olwo n Beyond and Hollywood Musicals: aZa Ha’Varod Ha’Zman o.4,n.1 p 66–78. pp. 1, no. 45, vol. , o.1 o ,p.355–372. pp. 4, no. 1, vol. , uias olwo n Beyond and Hollywood Musicals: ieao usdr:TeRs of Rise The Outsiders: of Cinema o 7 .15. p. 17, no. , h oiisadPeisof Poetics and Politics The h ar h Didn’t Who Fairy The d ilMrhl & Marshall Bill eds , h oiisand Politics The ora of Journal Desperate eds , , Downloaded By: [Tel Aviv University] At: 07:34 18 March 2008 OS JAGGER & YOSSI RAZ YOSEF, WATER ON WALK TRICK DEBORAH THOMPSON, MIRI TALMON, MIRI TALMON, MIRI TALMON, SWOON WARS STAR SUSAN SONTAG, MARK SIMPSON, LEMLS KUNI SHNEI HA’SIRENA SHIRAT TOMAS SCHATZ, P. STEVEN SCHACT, (film) rs,Ltn UK. Luton, Press, Media Global the and n lxMio bsdo baa odae’ prta;poue:Mrea Navon; Mordecai producer: min. operetta); 120 Goldfaden’s Film; Abraham Geva on (based Maimon Alex and mrHrladGlUhvk;IP/Lm rdcin tadRlaig 5min. 65 Releasing; Strand / Productions Lama / ICP Uchovsky; Gal and Harel Amir ae n a cosy aaFls/Uie igFls/CluodDem Roadside / Dreams Celluloid / Films min. 104 King Films; United Goldwyn / Samuel Films / Lama Attractions Uchovsky; Gal and Harel nvriyPes e rnwc,NJ. Brunswick, New Press, University aigo,Ge ono erneMculn nin nvriyPes Bloomington. Press, University Indiana MacMullan, Terrance & Johnson Greg Hamington, in feminine’, i egig arntnPr rs,NwYork. New Press, Park Harrington Bergling, Tim ikMClu;Lcsl 20 / Lucasfilm McCallum; Rick nvriyPes Edinburgh. Press, University in reprinted nvriyPesadteOe nvriyo salPes af i Hebrew). (in Haifa Press, Israel of University Open the and Press University rdcr:Jnta rc n ai o;TlsaPoutos/Eg ei;9 min. 90 Media; Ergo / Productions Talisma Fox; David and Aroch Jonathan producers: oilSemiotics Social i al oetHw n osKt;Go ahn odieAtatos 9min. 89 Attractions; Roadside / Machine Good Katz; Ross and Hawk Robert Fall, Jim hitn ahnadTmKln mrcnPahue 2min. 82 Playhouse; American Kalin; Tom and Vachon Christine nvriyo Jerusalem. of University (film) (film) UA19) ietr i al citrtr ao cae;poues rcd’Arbeloff, Eric producers: Schafer; Jason scriptwriter: Fall; Jim Director: 1999). (USA (2004) UA19) ietr o ai;srpwies o ai n itnAs producers: Als; Hilton and Kalin Tom scriptwriters: Kalin; Tom Director: 1992). (USA 19)‘aaim fyuhadcletv dniyi sal oua utr’ in culture’, popular Israeli in identity collective and youth of ‘Paradigms (1999) (2001) (1998) (film) (film) (1981) UA17) ietradsrpwie:Gog ua;poues ayKrzand Kurtz Gary producers: Lucas; George scriptwriter: and Director 1977). (USA camp’, on ‘Notes (1999) [1964] ( w uilemls kuni two ( 20)‘owr’ in ‘Forward’, (2001) ogo h siren the of song 20)‘unbu:Gyda uesadtemsuieebdmn fthe of embodiment masculine the and queens drag Gay ‘Turnabout: (2002) eodFeh ue aclnt n ainls nIreiCinema Israeli in Nationalism and Masculinity Queer Flesh: Beyond ap ue eteisadtePerforming the and Aesthetics Queer Camp: Ire,20) ietr ya o;srpwie:AnrBrhie;producers: Bernheimer; Avner scriptwriter: Fox; Eytan Director: 2002). (Israel, Ire 04.Drco:EtnFx citrtr a cosy rdcr:Amir producers: Uchovsky; Gal scriptwriter: Fox; Eytan Director: 2004). 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New McGraw-Hill, , ispoi:GyMnadEfmnt Behavior Effeminate and Men Gay Sissyphobia: d ac un,WlimCwig Maurice Cowling, William Tuana, Nancy eds , OT AEA FEIAEHEART EFFEMINATE AN HAVE GOTTA atsnReview Partisan h israintei,TeHebrew The thesis, Dissertation PhD , ujc,e.FboCeo Edinburgh Cleto, Fabio ed. Subject, o.3,n.4(p 515–530); (pp. 4 no. 31, vol. , Rutgers , Haifa , Youth ,by 83 Downloaded By: [Tel Aviv University] At: 07:34 18 March 2008 84 iiTalmon Miri ia Padva Gilad IA AV N IITALMON MIRI AND PADVA GILAD tes eas otiue oitrainleccoeiso iea r,sexualities, art, [email protected] cinema, E-mail: of masculinities. encyclopedias and international to contributed also He others. i erw a ulse n20 yHiaUiest rs n h pnUniversity Open [email protected] The and E-mail: Press Press. University Israel Haifa by of 2001 in published was Hebrew) (in Dprmn fCmuiain;cretylcuigadwiigi h S.Her USA. the in writing and book lecturing Jerusalem currently University of Communication); Haifa University of TV), Hebrew (Department & the Film and of Communication) (Department of University (Department Aviv Tel Israel, of University eiitMdaSuis oe agae ieaJunl ora of Journal in Journal, published Cinema Inquiry been Language, Communication have & articles and Women His (Women Studies, College Education). 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