ABSTRACT

The search for queer/queerable moments in the post-1989 Polish cinema is a frustrating feat. While increasingly featuring LGBTQ+ characters, especially in the current decade, Polish cinema films rarely break away from heteronormative and, less frequently, homonormative stereotypization, which takes on a limited range of offensive or empathetic manifestations. The former, represented by low-brow comedies, such as Weekend (dir. Cezary Pazura, 2010) and Sex Change (dir. Konrad Aksinowicz, 2009), would continue the infamous tendency of cis-male filmmakers to poke fun at anal sex and dildos, which they apparently identify as representative of non-heteronormative sexual practices and behaviours. The latter, usually featuring one or two gay or lesbian characters in the roles of sidekicks to the protagonists, would constitute sympathetic responses to socio-political situations of LGBTQ individuals in Poland, marked by homophobia, coming-out hardship, and/or heavily non-egalitarian legislation in Poland. Yet, in the early 2010s, a few cinema films brought about cracks in the dominating trend, proposing instead multi-layered though heavily ambiguous studies of non-heteronormative characters living in contemporary Poland. Suicide Room (dir. Jan Komasa, 2011) presents a story of adolescent homophobia in a private secondary-school setting, simultaneously questioning the sexual identification and cis-ness of the protagonist. Floating Skyscrapers (dir. Tomasz Wasilewski, 2013) focuses on a cis-male swimmer who falls in love with an openly gay male while being in a romantic relationship with a woman. Secret (dir. Przemyslaw Wojcieszek, 2012) combines a reflection on non-heteronormative forms of kinship and of sexual identification with the non-memory of Shoah – it is one of several films released around that time, which are reactionary towards the discussion concerning the Polish participation in the pogroms on the Jewish Poles in the 1930s-1940s.

摘要

在 1989 年后的波兰电影中寻找酷儿/酷儿时刻是一项令人沮丧的壮举。虽然越来越多地出现 LGBTQ+ 角色，尤其是在最近十年，波兰电影很少摆脱异性恋和同性恋的刻板印象，这种刻板印象在有限的范围内具有攻击性或移情表现。前者，以低俗喜剧为代表，如周末(dir. Cezary Pazura, 2010) 和Sex Change(dir. Konrad Aksinowicz, 2009)，将继续臭名昭著的顺式男性电影制片人嘲笑肛交和假阳具的倾向，他们显然认为这是非异性恋性行为和行为的代表。后者通常以一两个男同性恋或女同性恋角色作为主角的助手，将构成对波兰 LGBTQ 个人社会政治状况的同情反应，其特点是恐同、出柜困难和/或严重不-波兰的平等立法。然而，在 2010 年代初期，一些电影电影在主流趋势中出现了裂缝，而是提议对当代波兰的非异性恋角色进行多层次但非常模糊的研究。自杀室(dir. Jan Komasa, 2011) 展示了一个私立中学环境中青少年恐同症的故事，同时质疑主角的性别认同和顺性。《漂浮的摩天大楼》（导演 Tomasz Wasilewski，2013 年）聚焦于一名顺式男性游泳运动员，他在与一名女性发生浪漫关系时爱上了一名公开的同性恋男性。Secret (dir. Przemyslaw Wojcieszek, 2012) 结合了对非异质性亲属关系和性别认同形式的反思以及对大屠杀的非记忆——它是当时发行的几部影片之一，这些影片对有关“大屠杀”的讨论是反动的。波兰人在 1930 年代至 1940 年代参与了对犹太波兰人的大屠杀。