개인구독
소속 기관이 없으신 경우, 개인 정기구독을 하시면 저렴하게
논문을 무제한 열람 이용할 수 있어요.
지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2002.12
- 수록면
- 171 - 198 (28page)
이용수
초록· 키워드
오류제보하기
In the sixty years with which this paper has been mainly concerned, Broadway/Hollywood musical that have treated homosexuality―Cabaret (1966), A Chorus Line (1975), and Rent (1996)―have gradually constructed a fake public homosexuality to facilitate a double marketing strategy: selling products to gay consumers that address their emotional need to be accepted while selling a palatable image of homosexuality to heterosexual consumers that meets their need to have their dominance obscured. However, as this paper has tried to prove, to the gay spectators’ joy, straight musicals without any direct gay themes have been no less colored than the musical that has represented homosexual scenes by means of double marketing strategy.
Musicals created by gay men―Anything Goes (1936), Kiss Me Kate 1948), Gypsy (1959), Company (1970), Passions (1994)―have captured the gay spirit. Homosexual themes have been in lyrics, music, acting, and dancing. West Side Story (1957) was a case in point. To many gay adults coming of age in the sixties, the romance, violence, danger, and mystery so audible on the original cast album all felt like integral parts of the gay life they had embraced.
The gay man’s exploitation of cinematic visions of Hollywood divas― Judy Garland, Ethel Merman, Marlene Dietrich, Liza Minelli, Barbra Streisand, Julie Andrews, Madonna―has elevated himself above his antagonistic surroundings and expressed membership in a hedonistic demimonde. In the homosexual’s imagination, divas actually became gay men and in the process of this transference, she was transformed into the homosexual’s proxy through which gay man lived out unattainable longings. The divas in Anything Goes, The Wizard of Oz (1939), Gypsy, Funny Girl (1968), A Star Is Born (1976), Kiss of the Spider Woman(1993), Evita (1996) thus became gay icons.
Broadway/Hollywood has not given us much to identify with among the men onstage. The male object of desire in West Side Story (1957), Victor, Victoria (1996), Evita has seldom been the leading man. It has often been the chorus boy or male dancer, who is allowed a freedom of expression and an overt sexiness denied the male star. A gay site thus introduces Madonna’s “Vogue” music video as “[a] drag-ball-inspired video with shapely male dancers sung by one of the gay community’s most beloved icons.” As gay culture has come out in the 1990s, the secret pleasures of gay spectators have also come out.
Musicals created by gay men―Anything Goes (1936), Kiss Me Kate 1948), Gypsy (1959), Company (1970), Passions (1994)―have captured the gay spirit. Homosexual themes have been in lyrics, music, acting, and dancing. West Side Story (1957) was a case in point. To many gay adults coming of age in the sixties, the romance, violence, danger, and mystery so audible on the original cast album all felt like integral parts of the gay life they had embraced.
The gay man’s exploitation of cinematic visions of Hollywood divas― Judy Garland, Ethel Merman, Marlene Dietrich, Liza Minelli, Barbra Streisand, Julie Andrews, Madonna―has elevated himself above his antagonistic surroundings and expressed membership in a hedonistic demimonde. In the homosexual’s imagination, divas actually became gay men and in the process of this transference, she was transformed into the homosexual’s proxy through which gay man lived out unattainable longings. The divas in Anything Goes, The Wizard of Oz (1939), Gypsy, Funny Girl (1968), A Star Is Born (1976), Kiss of the Spider Woman(1993), Evita (1996) thus became gay icons.
Broadway/Hollywood has not given us much to identify with among the men onstage. The male object of desire in West Side Story (1957), Victor, Victoria (1996), Evita has seldom been the leading man. It has often been the chorus boy or male dancer, who is allowed a freedom of expression and an overt sexiness denied the male star. A gay site thus introduces Madonna’s “Vogue” music video as “[a] drag-ball-inspired video with shapely male dancers sung by one of the gay community’s most beloved icons.” As gay culture has come out in the 1990s, the secret pleasures of gay spectators have also come out.
목차
Ⅰ
Ⅱ. 직접적 묘사의 실체: 상업적 역이용에서 이중 마케팅 전략에 이르기까지
Ⅲ
Ⅳ
인용문헌
Abstract
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
아직도 달리고 있는 리스본 트라비아타라는 이름의 전차
현대영미드라마
2010 .08
-
게이 에이즈 드라마 수업의 이론과 실제 : 호프만의 As Is의 경우
현대영미드라마
2002 .08
-
피터 게이의 역사 세계
역사학보
2015 .12
-
Irony as a Dramatic Method in The Beggar’s Opera : ‘A Tragi-Comi-Pastoral Farce’
Shakespeare Review
2015 .06
-
1940년대의 ‘남자동성애’ 연구
비교민속학
2006 .02
-
미국 주류 게이/퀴어 드라마 공연 전략 비교연구 : 맥낼리, 쿠쉬너, 라이트를 중심으로
현대영미드라마
2009 .04
-
정치 사회 풍자로서 죤 게이의 『거지 오페라』 연구
신영어영문학
2003 .08
-
Intimate Freedom : Queering Anarchism in Leesong Hee-il`s Films
Korea Journal
2018 .06
-
Topic, Tone, and Stance in Three Satirists : Pope, Swift, and Gay
동서문화
1975 .11
-
식민지 시기 여가와 불모의 헤테로토피아 : 김남천의 「주말여행」을 중심으로
비평문학
2015 .09
-
동성애적 관점에서 본 <무정>
현대소설연구
2003 .12
-
게이, 여장남자『아킬레스, 젠더 수행성
영미문학페미니즘
2006 .01
-
이것은 정신분석이 아니다 : 피터 게이 (2011[2006/1988]).『프로이트Ⅰ: 정신의 지도를 그리다』. 정영목 옮김 / 피터 게이 (2011[2006/1988]).『프로이트Ⅱ: 문명의 수수께끼를 풀다』. 정영목 옮김
현대정신분석
2014 .08
-
『동물원 이야기』: 커밍아웃의 시도
신영어영문학
2004 .08
-
동성애와 기독교
대학과 복음
2004 .12
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-842-015466045