Bewegung und Stillstand – Filmische Ungleichzeitigkeit im Kontext geschlechtlicher Transition
DOI: 10.61387/S.2024.12.7
Autoren
Sebastian Schädler
Abstract
„Gender transition“ has become a highly controversial topic in gender policy debates. On the one hand, this is because the central terms themselves are controversial: „gender“, „identity“, „diversity“ are controversially discussed both between and within disciplines – medicine, psychology, psychoanalysis, cultural studies, gender studies, sexology. In addition, debates that deal with ‚sex‘ in the broadest sense – as a category and as a practice – are ‚charged‘ in a variety of ways. The article deals with this constellation in a productive way insofar as it proposes a parallel to the aesthetic form of film. For in both fields, according to the thesis, an oscillation between movement and standstill is central due to cultural upheavals, among other things. In the debate about trans*, for example, the binary gender dispositive has been set in motion, while in film the individual image is technically set in motion. On the other hand, in films dedicated to the topic of trans* in the broadest sense, the main characters are suddenly „immobilized“ in situations in front of mirrors. The article examines this film-aesthetic decision on the basis of selected productions. It also looks at aspects and consequences for educational and socio-political debates, moving beyond a positioning in one of the current „camps“ and instead focusing on more far-reaching aspects.Because in the context of the trans* debate, there are shifts in social power relations that must not be lost sight of.
Keywords
Film aesthetics, Gender role, Gender identity, Gender diversity, Transition, Transidentity
Metadaten
Veröffentlicht in: Sexuologie. Zeitschrift für Sexualmedizin, Sexualtherapie und Sexualwissenschaft. Band 31 • Jahr 2024 • Heft 1-2, Seiten 53-65