Working-Class LGBTQ+ Representation in British Cinema

近年来，英国和西方世界大部分地区授予同性伴侣的权利侧重于保守的家庭价值观和(可继承的)财务状况，主要受益于那些在LGBTQ+群体中最具社会经济特权和规范性的人，而在某种程度上忽视了最脆弱的LGBTQ+群体。身份和生活方式被正常化或妖魔化，以适应社会和政治议程。除了性别和性取向，处于边缘的人的需求往往被降级为有利于主流/特权阶层(想想：格伦费尔大厦)。那么，为什么这个项目与LGBTQ+工人阶级代表有关？因为屏幕不仅提供娱乐，而且还是一个重要的社会政治工具，用来告知和影响关于身份、我们自己以及我们如何看待他人的观点。虽然积极的同性恋代表有所增加，但与上述变化保持一致的是，LGBTQ+群体和工人阶级的其他主体经常被妖魔化或庇护。作为一名电影制作人和苏格兰酷儿国际电影节(SQIFF)的主席，这个及时的项目建立在我对同性恋表现及其影响的现有研究基础上。它将填补学术研究中的三个重大空白(理论；文本分析；定性分析)：创建关于酷儿工人阶级身份的新理论；将其应用于阅读1980年以来英国电影中工人阶级和LGBTQ+身份和生活方式的交集；收集工人阶级LGBTQ+人对银幕上这种表现的意见的数据。这一联谊会的两份出版物，1980年的一本专著《贫穷的酷儿：英国电影中的工人阶级LGBTQ+的表现》，以及我将编辑的一期专刊中的一篇期刊文章，将填补酷儿理论和电影研究方面的空白，为该项目的第一个文本分析结构。自新千年以来，酷儿理论与其他少数群体/弱势群体身份之间的联系受到了极大的关注，但关于阶级/社会经济地位的工作基本上没有。我的研究将定位于社会政治和经济上的酷儿概念，以创建一个跨学科的理论。我通过电影媒介来说明这一点，以提供第一个关于LGBTQ+和英国银幕上工人阶级身份的书籍长度的研究。第二部分研究包括在英国各地的酷儿电影节(加的夫、格拉斯哥、利兹、伦敦)举行的一系列研讨会，在这些研讨会上，我从那些认为LGBTQ+和工人阶级的人那里收集数据，了解他们对银幕表现的态度，以及他们是如何在传统上由中产阶级及以上阶层使用的艺术场所的屏幕外迎合他们的。这一定量分析将形成此类研究的第一篇：一篇探索英国LGBTQ+工人阶级对电影表现和艺术包容的态度的期刊文章。因此，该项目将探索代表性和现实性，并确保我通过新的知识、成果和酷儿屏幕研究网络发展成为一名研究领导者，我将在整个团契期间和以后继续发展。在SQIFF 2020之前，QSRN通过一系列研讨会和一次会议，将一系列学科的学者与那些策划和制作电影的人团结在一起。两者都将以工人阶级酷儿为主导，并被用作在奖学金结束时发起工人阶级电影节的跳板。与我致力于影响学术界以外的世界并改善对少数族裔的态度和生活现实一致，其他非学术产出将包括一部将在电影节上放映的关于工人阶级代表的纪录片，以及将被电影节、艺术场所和资助机构雇用的关于工人阶级代表和包容的最佳实践文件。我将通过一个项目网站，在学术界内外自由分享大部分信息。

Rights granted to same-sex couples across Britain and much of the Western world in recent years focus on the conservative values of family and (inheritable) finances, primarily benefitting those most socio-economically privileged and normative on the LGBTQ+ spectrum and somewhat neglecting the most vulnerable LGBTQ+ subjects. Identities and lifestyles are normalized or demonized to suit agendas, social and political. Beyond gender and sexuality, the needs of people on the margins are often relegated in favour of the mainstream/privileged (think: Grenfell Tower). Why, then, is this project concerned with LGBTQ+ working-class representation? Because the screen does not just provide entertainment, but is also a significant socio-political tool to inform and influence opinion about identity, our own and how we view others. While there is an increase in positive gay representation, in keeping with aforementioned changes, other subjects on the LGBTQ+ spectrum and the working-class are often demonised or patronised. This timely project builds on my existing research on queer representation and impact arising from this, as a filmmaker and Chair of the Scottish Queer International Film Festival (SQIFF). It will fill three significant gaps in academic research (theoretical; textual analysis; qualitative analysis): creating new theory on queer working-class identities; applying this to read the intersection of working-class and LGBTQ+ identities and lifestyles in British film from 1980; collecting data on working-class LGBTQ+ people's opinions on such representation onscreen.Two publications from this Fellowship, a monograph, Poor Queers: Working-Class LGBTQ+ Representation in British Film from 1980, and a journal article within a special journal issue I will edit, will fill lacunae in queer theory and Film Studies for the first - textual analysis - strand of the project. Since the new millennium, there has been a significant focus on the interface of queer theory and other minority/disadvantaged identities, but work on class/socio-economic position is largely absent. My research will situate queer concepts socio-politically and economically, to create an interdisciplinary theory. I illustrate this through the medium of film to provide the first book-length study on LGBTQ+ and working-class identity on the British screen.The second strand of research comprises a series of workshops at queer film festivals across Britain (Cardiff, Glasgow, Leeds, London), in which I gather data from those who identify as LGBTQ+ and working-class about attitudes to onscreen representation and how they are catered to offscreen in arts venues traditionally used by the middle-class and above. This quantitative analysis will form the first study of its kind: a journal article exploring British LGBTQ+ working-class attitudes to filmic representation and inclusion in the arts. The project will, therefore, explore representation and reality, and ensure I develop as a research leader via new knowledge, outputs, and the Queer Screens Research Network that I will continue to grow throughout the Fellowship and beyond. QSRN unites scholars across a range of disciplines with those who curate and make film, via a series of seminars and a conference immediately before SQIFF 2020. Both will have Working-Class Queers as their lead strand and be used as a springboard to launch a Working-Class Film Festival at the end of the Fellowship.In line with my dedication to impacting the world beyond academia and improving attitudes towards and the lived reality of minorities, other non-academic outputs will include a documentary film about queer working-class representation to be screened at film festivals, and best practice documents on working-class representation and inclusion to be employed by film festivals, arts venues, and funding bodies. I will share much of this information freely, within and beyond academia, via a project website.