![]() The comedy of the cross-dressing and dandy performances is foregrounded in the distance between the gendered body and gendered clothing, and the relationship to the normative male role. ![]() Although the two characterisations differ in their articulation of sexual difference, both accentuate the performance aspect of clothing. In films such as Cretinetti che bello! (1909), Il candidato femminista (1910), and Madamigella Robinet (1913), comedians such as André Deed and Marcel Fabre famously impersonate a number of cross-dressers and dandies. The cross-dressing and dandy performances score highly in Italian comedies of 1910s. Men impersonating women tend to imitate feminine characteristics to generate comedy, whereas when women impersonate men they often portray a more flattering homage to masculinity.Īs Corinne Holt Sawyer remarks in her 1987 essay Men in Skirts and Women in Trousers, “a woman who dresses like a man is just being sensible, but the man who dresses like a woman is either insane, or he is intended to be comic, because there is no reason so compelling that a man in his right mind would willingly accept such a demotion in status!” More broadly, it says something about the privileged position of masculinity, in that through cross-dressing, the slapstick film allows men to be laughed at, whilst keeping their masculinity safe from ridicule. However, comedy cross-dressing predominantly only flows one way, from male to female impersonation. Such tropes may suggest how, in a given society, we define, and laugh at, gender. Unsurprisingly, one of the most longstanding tropes in slapstick is that of the male cross-dresser and the dandy performance. Underlying the slapstick comedy is often a parody of idealised gender traits, such as masculine bravery and strength, and feminine equanimity and beauty. Cross-dressing is therefore often found in slapstick comedy, as humour lies in the juxtaposition between the bizarre and the conventional. ![]() Cross-dressing highlights gender as a construction, and subverts this construction by calling attention to the artifice of gender identity. For the cinematic cross-dresser it is the conflict between performance and construction of gender that marks the cross-dresser as ambiguous. Not only do the clothes worn by the cross-dresser signify gender, but also in the ability to successfully wear the clothes assigned to a particular gender. ![]() Supporting the use of audiovisual content in education.Ĭinematic cross-dressing intersects two discourses, drawing on meanings of performance and on the construction of gender identity and sexual difference. Online guide on how to employ BoB and TRILT for research on broadcast media Research-led video essays guide for students, teachers and researchers Understand How Copyright Regulates the Use of Creative Works in Educationīest practice for citing any kind of audiovisual Interactive Virtual Environments for Teaching and Assessment Women’s Work in British Film and TelevisionĮxploring the contribution of women who worked in the British film and television industries from 1933-1989.Recording service (BoB) to document the coverage of the COVID-19 pandemic COVID-19 Broadcast Media Recording Project.Overview of the research resources available to our members as well as opportunities for collaborationĮxploring the possibility of making our archive of over 2.4 million television and radio broadcasts Teaching activities and other resources designed using our curated BoB playlists ![]() Watch a selection of archive films from the history of Gaumont Sound NewsĪ growing collection of BoB Playlists specially curated by academics from a diverse range of disciplines Resource on the study and use of film in history Independent Radio News Archive, (1973-1995)Įverything you need to know about our Newsreels resource Learning on Screen's Off-Air Back-up Recording Service On Demand Television and Radio for Education ![]()
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