[landscapelifescape]

[spi-ltmilk]

[wolverxne]

[zuluandzephyr]

[sustancy]

[vividspark]

ig:xejj

[pairedaeza]

[quiet-nymph]

World.from.my.eyes on Instagram

[bienenkiste]

Grace Bol by Txema Yeste for Numéro May 2017

[jauhaus-deactivated20230304]

Krauthaker and Connolly (2017) albeit has an interesting take on the way Julie Maroh’s comic book (2010) Blue is the Warmest Colour was lensed through Cixous’ model of positive femininity and female sexuality, yet deems Kechiche’s film adaptation as disturbing, involving elements that can be read as endorsing a patriarchal economy. Laura Mulvey coins the term ‘male gaze’ to argue that the film adaptation was born to cater to a male heterosexual audience as its default, a default that sees women taking a backseat as passive and objectified beings.


I wholeheartedly disagree, as a woman who identifies as a lesbian, this seems nothing short of insulting. Whilst there were scenes in this film that showed graphic sex, it disregards the entire scope of womxn whom identify not only as a lesbian, but apart of the LGBTQIA+ community. By proxy, the desires of this community are also eschewed in favour of those of a broader community. For me, this arguments stand-point has a feminist view but also a heterosexual one, because it coincides with the ‘queer invisibility’ theory that our sexual desires and need for more authentic films cannot exist. Our desires for authentic queer based films do exist, and this was not seen through a male heteronormative lens, in fact mirrors Cixous’ ‘women writing for women’ perfectly.

[crybabyface-deactivated20160904]

[finehoney]

[kmgraciano]

follow @Davebelu for similar content! IG:@Davebelu

[melisica]

[block]

[greaterland]

[sleazeburger]

[emmafogarty]