CHAPTER 2 Situating Slip-Sync: IN/AUTHENTICITY, SINGIN’ IN THE RAIN, A HARD DAY’S NIGHT, THE ROCKY HORROR PICTURE SHOW, BLANK GENERATION, ILLUSIONS, NICE COLOURED GIRLS, NEOCON 1980S

2010 ◽  
pp. 10-41
Keyword(s):  
Picture Show ◽  
Blank Generation ◽  
Rocky Horror Picture Show

The Rocky Horror Picture Show

2012 ◽  
Vol 24 (4) ◽  
pp. 359-361
Author(s):  
Brittni Kimble ◽  
Jacqueline Hart ◽  
Lora Dunn
Keyword(s):  
Picture Show ◽  
Rocky Horror Picture Show

Queer(y)ing Masculinities

2017 ◽  
Author(s):  
Bryant Keith Alexander
Keyword(s):  
Online Dating ◽  
Social Constructions ◽  
The Moment ◽  
Picture Show ◽  
Rocky Horror Picture Show

This chapter tests the limits of understanding what masculinity means or tries to mean. It insists that queer masculinities are those that are not only suspicious, resistant, or out of the ordinary, but are also those that elude while stabilizing meaning. In other words, at the moment we examine the Rocky Horror Picture Show or an online dating site, we establish a set of assumptions regarding who people are; yet, we develop this interplay of subjectivities that presumptively iterates binaries without ever challenging how heterosexuality is nothing more than a construction of the masculine ideal. The chapter beckons us to not get too comfortable with our learned sense that we know what masculinity is. It turns our assumptions regarding masculinity topsy-turvy and forces us to recognize that whether you are a Rasta, rude boy, martial artist, womanizer, athlete, or soldier, masculinities are defined social constructions that vary across culture, context, and community.

Can I Be Frank with You?

2021 ◽  
Vol 27 (2) ◽  
pp. 233-252
Author(s):  
Cameron Crookston
Keyword(s):  
Popular Culture ◽  
Science Fiction ◽  
Identity Politics ◽  
Political Identity ◽  
Gothic Literature ◽  
Public Response ◽  
Hollywood Film ◽  
Queer Culture ◽  
Picture Show ◽  
Rocky Horror Picture Show

When Fox 21 Television Studios announced that Laverne Cox would play the role of Frank N. Furter in their 2016 The Rocky Horror Picture Show: Let’s Do the Time Warp Again, most public response circled around how Cox’s visible political identity as a trans woman spoke to the problematic nature of Rocky Horror’s language and dated identity politics. Released in 1975, Richard O’Brien and Jim Sharman’s The Rocky Horror Picture Show has been a touchstone of queer popular culture for more than forty years. Rocky Horror is constructed as a self- conscious pastiche of multiple cultural moments and queer coded pieces of popular culture; Gothic literature, classic Hollywood film, science fiction B movies, Glam Rock, and drag all mingle in the queer cultural collage that makes up the show’s dramaturgy. As such, the scope of Rocky Horror serves as a kind of performative queer archive, collecting and performing generations of queer culture. However, in addition to offering a dense collection of queer cultural artifacts, Rocky Horror has also inherited many of the complicated representational aspects of its sources, such as the racist coding and simultaneous racial erasure of Gothic and horror conventions as well as rapidly changing and often conflicted trans identity politics of the mid- twentieth century. These problematic appropriations and omissions become all the more salient in light of Cox’s 2016 performance. In this article, Crookston examines how Rocky Horror has functioned as a performative queer cultural archive and how Danny Ortega’s remake, starring Cox, challenges, complicates, and excavates O’Brien’s original historiographic dramaturgy.

scholarly journals Normal versus Freak

2016 ◽  
Vol 3 ◽  
pp. 77-88
Author(s):  
Nikole Darnell
Keyword(s):  
Freak Show ◽  
The World ◽  
Picture Show ◽  
Rocky Horror Picture Show

Within the world of performance exists a line ofothering. By juxtaposing the cult classic The Rocky Horror Picture Show and the historical freak show, the issue of staring becomes more apparent.

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