Drawing the Border, Queering the Nation: Nation Trouble in Breakfast on Pluto and The Crying Game

[...]Fergus finds and falls in love with Dil, a development that comprises this film's second and concluding segment. 2From the time of his first film Angel (1982), through to The Crying Game and then Breakfast on Pluto in 2005, it is the queer radical represented by orphan, adoptee, and gay tr...

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Bibliographic Details
Published in:Gender forum 2016-01 (59), p.N_A
Main Author: Fadem, Maureen E Ruprecht
Format: Article
Language:English
Subjects:
Aesthetics
Gender
Imprisonment
Jordan, Neil
Jordan, Neil (1950- )
Masculinity
Motion picture directors & producers
Motion pictures
Narratives
Non-binary gender
Politics
Rea, Stephen
Sexuality
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Summary:[...]Fergus finds and falls in love with Dil, a development that comprises this film's second and concluding segment. 2From the time of his first film Angel (1982), through to The Crying Game and then Breakfast on Pluto in 2005, it is the queer radical represented by orphan, adoptee, and gay transvestite, Irish(wo)man Patrick "Kitten" Braden (Cillian Murphy) that Jordan has always sought to represent visually. Notwithstanding that this filmmaker sometimes produces gender-burdened "castrating women narratives" (McLoone 182), at the same time, they almost always offer shrewd, scrupulous interrogations of the essential concerns for this article-that is, masculinity and (homo)sexuality. 4When set on the island, Jordan's films deal prominently with its political history.\n This is seen in the way Kitten is determined to escape the inescapable and that Fergus's only potential for freedom from that nexus is to land himself in jail for two thousand three hundred and thirty five more days-the future following the fade to black. 29Jordan gets "beyond the circular return to the sanctity of the nation" (Pramaggiore 23), is clearly only "reluctantly beholden to [it] post-nationally" (Graham 92), clearly "transcend[ing], yet epitomiz[ing], nationality" (Rockett 2).
ISSN:1613-1878