Vrata ostanejo odprta in queerovska paralaksa

Nebojša Jovanović

Prevedla Ivana Novak

Povzetek:

Pričujoči članek problematizira kronični neobstoj queerovskih reprezentacij v vzhodnoevropski kinematografiji socializma tako, da se s to težavo sooči v kontekstu jugoslovanskega filma. Dosedanje raziskave odnosov med jugoslovanskim filmom in queerovsko seksualnostjo so bile kot vaja v homo-spottingu: avtorji so bolj ali manj katalogizirali sporadične pojave gejevskih in lezbičnih likov na platnu. Kolikor je ta pristop pomemben in nujen, bi ga morali nadomestiti z analizami, ki presegajo fiksacijo razkritih homoseksualnih identitet, in raziskati njihovo stabilnost. Članek zagovarja uporabo in preizkušnjo queerovske teorije glede na zgodovino jugoslovanskega filma pri obravnavi filma Vrata ostanejo odprta (Vrata ostaju otvorena, 1959) češkega emigrantskega režiserja Františka Čapa.

Abstract:

The Doors Remain Open and queer parallax

Problematizing the chronic non-existence of representations of queers in Eastern European cinemas during socialism, this article tackles the issue in the context of Yugoslav cinema. Enquiry into the relation between Yugoslav cinema and queer sexuality so far has been mainly conducted as an exercise in homo-spotting: the authors would more or less catalogue gay and lesbian characters sporadically appearing on-screen. Important and necessary as it is, this approach should be supplanted by the analyses that go beyond the pinning down of overt homosexual identities, and explore their very stability. Arguing for employment and
testing of queer theory with regard to the history of Yugoslav cinema, this article looks at The Doors Remain Open (Vrata ostaju otvorena, 1959), a film by Czech
émigré director František Čap.