ru | En
PHILOSOPHICAL
LITERARY
JOURNAL
ISSN 0869-5377
Author: Hunter Ian Q.

Hunter Ian Q.

PhD, Reader in Film Studies at the School of Media and Communication of the Faculty of Art, Design and Humanities of the De Montfort University. Address: The Gateway, Leicester LE1 9BH, United Kingdom. E-mail: iqhunter@dmu.ac.uk.

Publications

Beaver Las Vegas! A Fan’s Defense of Showgirls / Logos. 2014. № 5 (101). P. 79-96
annotation:  The text is a case study of Paul Verhoeven’s Showgirls. At the time the picture was released it was immediately recognized by viewers as a “bad movie” and eventually was promoted as a “bad movie,” which should be treated with irony, but not seriously. As a result, the tape was interpreted as camp and became entertainment for homosexuals, securing its status as a “gay movie.” The author carefully challenges this interpretation in hopes of proving that the film can be interpreted as a “good” one. The author does not deny Paul Verhoeven’s conscious irony, and therefore considers that the target audience of the film might be white heterosexual men, as the tape is a deliberate statement of the director about the body, sex and consumption.
Keywords:  interpretation, Camp, irony, cult film, sexuality

Hunter Ian Q.

PhD, Reader in Film Studies at the School of Media and Communication of the Faculty of Art, Design and Humanities of the De Montfort University. Address: The Gateway, Leicester LE1 9BH, United Kingdom. E-mail: iqhunter@dmu.ac.uk.

Publications

Beaver Las Vegas! A Fan’s Defense of Showgirls / Logos. 2014. № 5 (101). P. 79-96
annotation:  The text is a case study of Paul Verhoeven’s Showgirls. At the time the picture was released it was immediately recognized by viewers as a “bad movie” and eventually was promoted as a “bad movie,” which should be treated with irony, but not seriously. As a result, the tape was interpreted as camp and became entertainment for homosexuals, securing its status as a “gay movie.” The author carefully challenges this interpretation in hopes of proving that the film can be interpreted as a “good” one. The author does not deny Paul Verhoeven’s conscious irony, and therefore considers that the target audience of the film might be white heterosexual men, as the tape is a deliberate statement of the director about the body, sex and consumption.
Keywords:  interpretation, Camp, irony, cult film, sexuality
All authors

© 1991—2020 Логос. Философско-литературный журнал.
Все права защищены.
Дизайн Юлия Михина, jmikhina@gmail.com,
программирование Антон Чубченко