By Angela Jones

This anthology is a symposium on queer house and queer utopias. during the presentation of empirical paintings by means of modern queer theorists this publication goals to create a serious discussion in regards to the emergence of queer areas and the ways that they target to additional queer futurity.

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52 The men’s positioning is replicated in The Bubble by Ashraf and Noam the morning after they have sex, in the postcoital scene described above when “explosive” slang fails to signify. While The Bubble incorporates familiar imagery from the play, the film does not attempt to contain the “liveness” suggested by the utopic staging. Instead, the cinematography offers a close-up of the Israeli actor playing the Nazi guard, swastika on his bicep and machine gun in hand. The guard is obviously wearing a costume, not an official uniform.

Michael Willhoite, Members of the Tribe: Caricatures of Gay Men and Lesbians (Boston: Alyson, 1993), 73. 44. Muñoz, Cruising Utopia, 21. 45. For more on the concept of the “field of cultural production” as it applies to theater, see David Savran, “Ambivalence, Utopia, and a Queer Sort of Materialism: How ‘Angels in America’ Reconstructs the Nation,” in Approaching the Millennium: Essays on Angels in America, ed. Deborah R. Geis and Steven F. Kruger (Ann Arbor: University of Michigan Press, 1997), 13–39.

The film underscores this possibility by continued sexualization of the social disparity. The Arab men are asked by the Jewish soldiers to raise their shirts, in order to guarantee no Palestinians have concealed explosives. An Israeli guard demands from the line of men, “I said, slowly! ” Speaking in Hebrew, Ashraf asks Noam for help, when a pregnant Palestinian woman goes into labor at the checkpoint. Though a doctor arrives and aids in the delivery, the baby is stillborn and the mother weeps over the premature death.

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