Abstract

This article uses the concept of “radical femme-ininity” to signal the queering of femininity as a political gesture, one that relies on misinterpretations of cisgender femininity as straight in order to disrupt normative expectations around gender roles and gendered behavior. I situate my analysis in relation to theories about femme identity, femininity in heteronormative spaces, and queerness/lesbianism as a productively destabilizing lens with which to engage media representation. I focus on the role of the housewife as one of the most seemingly banal and yet fraught positions historically presented to (white, middle-class) women. Particularly, I examine how actor Julianne Moore embodies these roles via a radically femme-inine representation that queers and refuses social convention. Normative articulations of the housewife writ large cast her as a guardian of familial and marital integrity. As such, housewife characters can destabilize ideas around marriage, domestic labor, motherhood, and feminine virtue from within the context of legible—but not always actual—heteronormativity. Moore often plays characters who question feminine behavioral norms and operate under the cloak of femme-ness (both straight and queer) to buck social expectation. This essay explores two of Moore’s films in which her character’s radical femme-ninity and lesbian identification unsettle expectations of her role as a housewife: The Hours and The Kids are All Right.

抽象的

本文使用“激进的女性气质”这一概念来表达对女性气质的质疑，这是一种政治姿态，这种姿态依赖于对顺势女性气质的误解，从而破坏了关于性别角色和性别行为的规范性期望。我将自己的分析放在有关女性身份，异性规范空间中的女性气质以及古怪/女同性恋的理论上，这些理论是破坏媒体参与的生产性不稳定因素。我将重点介绍家庭主妇的角色，这是历史上似乎呈现给（白人，中产阶级）妇女的最平庸而又烦恼的职位之一。特别是，我考察了演员朱利安·摩尔（Julianne Moore）如何通过一种怪异的女性形象来体现这些角色，这些形象酷似和拒绝社会惯例。家庭主妇的规范性发音使她成为家庭和婚姻完整的监护人。因此，家庭主妇的性格可能会在清晰但并非总是实际的异性恋情境中破坏围绕婚姻，家务劳动，母亲和女性美德的观念。摩尔经常扮演质疑女性行为规范并在女性风度（直率和酷儿）的幌子下运作以破坏社会期望的角色。本文探讨了摩尔的两部电影，其中电影中角色的极端女性气质和女同性恋身份令她对担任家庭主妇的期望感到不安：和女性美德，来自清晰但并非总是真实的异性恋情境。摩尔经常扮演质疑女性行为规范并在女性风度（直率和酷儿）的幌子下运作以破坏社会期望的角色。本文探讨了摩尔的两部电影，其中电影中角色的极端女性气质和对女同性恋的认同使她对家庭主妇角色的期望望尘莫及：和女性美德，来自清晰但并非总是真实的异性恋情境。摩尔经常扮演质疑女性行为规范并在女性风度（直率和酷儿）的幌子下运作以破坏社会期望的角色。本文探讨了摩尔的两部电影，其中电影中角色的极端女性气质和对女同性恋的认同使她对家庭主妇角色的期望望尘莫及：时间和孩子们都很好。