Hearing queer temporalities
The audiovisual disjunction in Blue (1993) and The Terence Davies trilogy (1983)
DOI:
https://doi.org/10.22475/rebeca.v13n2.1057Keywords:
Queer temporality, Queer cinema, Audiovisual disjunction, Sound of cinemaAbstract
The concept of queer temporality is explored in queer studies as a possibility to engage with time through in ways other than the straight time framework, anchored to a heteronormativity idea of personal progress, encompassing conjugal matrimony, reproduction and monetary inheritance. Based on this, this article aims to investigate how some autobiographical films invite the spectator to glimpse into ways of experiencing these queer temporalities, where past and present and future may coincide. Specifically, we analyze the use of the audiovisual disjunction as a cinematic technique that manifests a sense of asynchronicity and being “out of joint”. In this regard, we propose a parallel reading of two autobiographical films directed by gay filmmakers: Blue (1993) by Derek Jarman, and The Terence Davies trilogy (1983) by Terence Davies. Hence, this article aims to elucidate the use of soundtracks in these films as a device that enables the audience to perceive queer temporalities through auditory experiences momentarily.
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