Prihodnost ljubezni in lezbičnega filma

Katarina Majerhold

Povzetek:

V članku želim prikazati, da obstajajo različni pogledi na ustvarjanje lezbičnega filma, pri čemer te poglede razdelim po spolu in spolni usmerjenosti ter dokazujem, da moški ustvarjajo drugačne filme od ženskih in homoseksualci drugačne kot heteroseksualci. Tako se ob primerjanju lezbičnih filmov različnih ustvarjalcev izkaže, da so homoseksualni režiserji in režiserke bolj osredotočeni na re-prezentacijo lastnih izkušenj (izvor lezbične želje, konflikt med osebno željo in družbenimi pričakovanji, travme razkritja pred starši in prijatelji ipd.), zaradi česar se bolj osredotočajo na sporočilnost filma, pri tem pa trpi kakovost samega filmskega jezika (tj. režija, produkcija, izbira kakovostnih igralk/igralcev ipd.); na drugi strani heteroseksualni režiserji/režiserke ne preizprašujejo izvorov želje in travme lezbijk in podobno, ampak jih zanimajo kakovostne filmske zgodbe, ki se na koncu odrazijo tudi v odličnih filmih. Članek pa zaključim s priporočilom, da se mora lezbični film v prihodnosti osredotočiti na prikaz predvsem univerzalne (sotočne) ljubezni v obliki vrhunske filmske pripovedi, ki bo presegla okvire spola in spolne orientacije ter s tem nagovarjala vse ljudi; ne nazadnje bo le na ta način lezbični film dosegel družbeni in kinematografski napredek oziroma uspeh.

Abstract:

The Future of Love and Lesbian Film

In this article I want to present different aspects of making lesbian films. I classify these aspects according to gender and sexual orientation. I also argue that men make different films than women and homosexuals different than heterosexuals. When we compare lesbian films of different authors it becomes evident that homosexual directors of both genders focus on the re-presentation of their own experiences (origin of lesbian desire, conflict between personal desire and social expectations, trauma of coming out in front of parents and friends etc.), thus focusing more on the message of the film. Consequently, the quality of the film language is neglected (i.e. directing, production, casting of great actors etc.). On the other hand heterosexual directors of both genders are not questioning the origins of the lesbian desire and traumas etc., but are interested in good stories, which is finally reflected in excellent films. I conclude this article with the suggestion that in the future lesbian films should be focused above all on the representation of universal (confluent) love in the form of top-notch narratives, which transcends the boundaries of gender and sexual orientation and thus address everybody. Last but not least, only in this way will the lesbian film archive social and cinematographic progress and success respectively.