ABSTRACT By situating the film's tragic representation of homo- sexuality within the tradition of melodrama, this article questions whether Brokeback Mountain truly challenges mainstream taboos. Like Midnight Cowboy , Brokeback Mountain casts its radical subject matter within an ultimately conservative generic paradigm rather than camping it up in the manner of Andy Warhol's Lonesome Cowboys.
ABSTRACT In Michael Haneke's Cachéé, a successful bourgeois couple is harassed by an unknown perpetrator who delivers surveillance videos of their home to them. By allegorizing the dilemma of postcolonial France through an Oedipal drama of suspicion, betrayal, and deception, Haneke sets the stage for a taut thriller that pivots upon the return of the barely repressed.
As recently as December, 2002, the New York Times ' Elvis Mitchell referred to the "wreckage"of Showgirls (1995). Yet the Film Quarterly editorial board had just been galvanized by a discussion of the same film. Apparently there exists a number of secret and not-so-secret devotees of the film. Showgirls has, perhaps unexpectedly, served to stimulate scholarly thought around issues of camp, satire, class, gender, the fallen woman, showgirl musicals, trash cinema,sexploitation films, hedonistic criticism, and reading and teaching the film. Noëël Burch, Akira Mizuta Lippit, Chon Noriega, Ara Osterweil, Eric Schaefer, Jeffrey Sconce, and Linda Williams have contributed to this discussion of the film. Perhaps Showgirls can still be rescued from the wreckage?