@article{ART002022965},
author={Je Hye Kim},
title={Priscilla, Traversing and Translating Between the Screen and the Stage},
journal={Journal of Modern English Drama},
issn={1226-3397},
year={2015},
volume={28},
number={2},
pages={59-86}
TY - JOUR
AU - Je Hye Kim
TI - Priscilla, Traversing and Translating Between the Screen and the Stage
JO - Journal of Modern English Drama
PY - 2015
VL - 28
IS - 2
PB - 한국현대영미드라마학회
SP - 59
EP - 86
SN - 1226-3397
AB - This article comparatively analyses the Australian film The Adventures of Priscilla, Queen of the Desert (Prisicilla, 1994) and the 2014 Korean production of the musical Priscilla, focusing on the politics of representation and the intersectionality of gender, sexuality, class, race, and nation, alongside marketability. The film Priscilla sought to mainstream gay-lifestyles and gained an international recognition of Australian cinema. Priscilla employs the common trope of a family reunion (gay fatherhood) and uses popular music to make the film accessible to broader audience by relieving the antipathy toward non-conforming gender subjects and queer people. However, it denigrates women and people of color in order to normalize white male queer subjects (gay drag queens and mtf transgender individuals). The film Priscilla foregrounds male bonding beyond sexual identity and positions queer’s place within Australian nationhood. White male queers are accepted as the new representatives of white Australia, which is predicated on misogyny and racism. The musical Priscilla cannot (and did not) materialize barren desert scenes on stage; it dilutes and minimizes the hostility and difficulty of the social atmosphere that queers face. As one primary purpose of the musical genre is entertaining the audience (often, through lavish spectacle), the musical Priscilla tends to gloss over queers’ social reality and to evacuate the queer content in the film. The consideration of global marketability directly affects the musical adaptation and decolors Australianness in the film, which leads to a heteronormative revision of the film.
KW - Priscilla;queer representation;adaptation;intersectionality;misogyny;racism;global marketability;spectacle;heteronormative revision
DO -
UR -
ER -
Je Hye Kim. (2015). Priscilla, Traversing and Translating Between the Screen and the Stage. Journal of Modern English Drama, 28(2), 59-86.
Je Hye Kim. 2015, "Priscilla, Traversing and Translating Between the Screen and the Stage", Journal of Modern English Drama, vol.28, no.2 pp.59-86.
Je Hye Kim "Priscilla, Traversing and Translating Between the Screen and the Stage" Journal of Modern English Drama 28.2 pp.59-86 (2015) : 59.
Je Hye Kim. Priscilla, Traversing and Translating Between the Screen and the Stage. 2015; 28(2), 59-86.
Je Hye Kim. "Priscilla, Traversing and Translating Between the Screen and the Stage" Journal of Modern English Drama 28, no.2 (2015) : 59-86.
Je Hye Kim. Priscilla, Traversing and Translating Between the Screen and the Stage. Journal of Modern English Drama, 28(2), 59-86.
Je Hye Kim. Priscilla, Traversing and Translating Between the Screen and the Stage. Journal of Modern English Drama. 2015; 28(2) 59-86.
Je Hye Kim. Priscilla, Traversing and Translating Between the Screen and the Stage. 2015; 28(2), 59-86.
Je Hye Kim. "Priscilla, Traversing and Translating Between the Screen and the Stage" Journal of Modern English Drama 28, no.2 (2015) : 59-86.
