Titlebook: Cross Generational Relationships and Cinema; Joel Gwynne,Niall Richardson Book 2020 The Editor(s) (if applicable) and The Author(s), under

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‘Draw Me like a Statue’: Youth, Nostalgia and the Queer Past in and, from its 1950s’ setting, for a perceived utopian age in the gay imaginary. The presence of gay rights campaigner McKellen is crucial, but the film acknowledges how patriarchal power can exploit the young, whether in wars, ancient or modern, or beside an idyllic Californian pool. I argue that t

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Offstage

Impossible Spaces? Liminal Space and Cross-Generational Love in Ann Hui’s who, following a stroke, insists on retiring to a care home. It is a relationship played out in public, transient, and liminal spaces, in which the past may exist in a relation of simultaneity with the present. Through it, Hui draws out not only a history of love and mutual dependence which Roger h

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吹牛者

,Räumliche Aussteifung von Geschossbauten,questions: If women have historically been encouraged to eroticize the more distant, more powerful and patriarchal father-figure, then what are the feminist implications of seeking a lover who is significantly younger? And to what extent does the “coming out” of the desirous and desirable older woma

microscopic

Internationales Risikomanagement,re the still unusual possibility of sexual attraction between a younger man and an older woman, they bring to the fore a sense of loss, grief, and fear, rather than any kind of celebratory or emancipatory rhetoric. Within this context, this chapter aims to answer the following questions: Do the wome

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Internationales Risikomanagement,r of six films since 1998 known for their ‘chick-flick’ appeal, the critical reception of Meyers’s work has been chequered and discussion of her films frequently peppered with a derisiveness characteristic of pervasive attitudes to romcom. How does . seem to explore an awareness of Meyers-Shyer’s pl

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,Betrachtung der Veränderungsprozesse,ractiveness of the older gay man in contemporary society.. (LaBruce 2013) challenges the stereotype of the ‘old queen’ by narrating how a 20-year-old man falls in love with an octogenarian. Like many of LaBruce’s films, . blends the codes of pornography with narrative cinema to make the spectator co

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https://doi.org/10.1007/978-3-8349-3512-0Léo, a creatively blocked filmmaker, lusts after boys while fathering a child with a woman whom he randomly meets. However, the real challenge posed by the film is in relation to the social conventions of ‘age-appropriate’ physicality and sexual desirability. The most provocative sequence involves a