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27 janvier 2022
- doi: 10.4000/hybrid.896
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Mots-clés
abjection cinema homosexuality Lionel Soukaz queer theorySujets proches
Feature films--History and criticism Movies Films Moving-pictures CinemaCiter ce document
Florian Grandena et al., « Châteaux andalous and Shoot in the Back: The films of Lionel Soukaz as abject representation », Hybrid, ID : 10.4000/hybrid.896
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Résumé
The iconoclastic work of the filmmaker Lionel Soukaz takes in all the abject expressions of the homosexual body, ejaculation and excretion included. His outrageous cinema puts today’s pseudo-tolerance into perspective, especially when we realise the extent to which exposing organs to the camera remains disturbing. Playing with representations as an outlet and a performance, the artist attempts to exteriorize and reflect gay sexuality as both a life form and a revolutionary practice. His films focus on the transgression of public-private standards, as well as norms of propriety in the depiction of representation. His creative process: cinema as a way to exit oneself, to somehow connect with the other, cinema as a revolutionary gesture. At stake is the ontological status of filmmaking as the purest form of abjection.