The Shape of Water와 냉전의 퀴어한 타자들
The Shape of Water and the Cold War's Queer Others
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This essay explores the 90th Academy Award for Best Picture winner The Shape of Water (2017), which portrays the unique romance between mute cleaner Elisa Esposito and a mysterious amphibian creature kidnapped from South America in the 1962 Baltimore. This essay first examines contemporary American society in which the nuclear family was perceived as the basic social unit through which American nation could survive in the Cold War's nuclear race. I also consider how the nuclear family was understood to be the inevitable social unit of consumption for durable consumer goods that drove economic growth in the United States. The second half of my paper addresses how The Shape of Water represents the way in which the Cold War liberalism served to establish the hegemony of contemporary middle class and marginalize social minorities in the 1960s American society. Employing the notion of queer as a challenge to heteronormative institutions and practices, I consider the way in which the film's minority characters represent queer alliance against racist heteronormative discourse that Colonel Strickland embodies. This paper also examines how the film challenges the dominant cultural politics in which ability and heterosexuality as social norms are bound intrinsically. In doing so, this paper concludes that The Shape of Water is a story of the Cold War's queer others.
Abstract
This essay explores the 90th Academy Award for Best Picture winner The Shape of Water (2017), which portrays the unique romance between mute cleaner Elisa Esposito and a mysterious amphibian creature kidnapped from South America in the 1962 Baltimore. This essay first examines contemporary American society in which the nuclear family was perceived as the basic social unit through which American nation could survive in the Cold War's nuclear race. I also consider how the nuclear family was understood to be the inevitable social unit of consumption for durable consumer goods that drove economic growth in the United States. The second half of my paper addresses how The Shape of Water represents the way in which the Cold War liberalism served to establish the hegemony of contemporary middle class and marginalize social minorities in the 1960s American society. Employing the notion of queer as a challenge to heteronormative institutions and practices, I consider the way in which the film's minority characters represent queer alliance against racist heteronormative discourse that Colonel Strickland embodies. This paper also examines how the film challenges the dominant cultural politics in which ability and heterosexuality as social norms are bound intrinsically. In doing so, this paper concludes that The Shape of Water is a story of the Cold War's queer others.
참고문헌 (21)
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