abstract:This article analyzes two popular Golden Era belly-dance films, Sigara wa Kass (A Cigarette and a Glass, 1955) and Habibi al Asmar (My Dark Darling, 1958), through concepts of queer spectatorship, queer time and space, homoerotic triangulation, and queer containment. The analysis centers women, attends to women's homoeroticism and nonnormative desires, and reads popular film as constituted by and constituting of mainstream conventions of gender and sexuality. It argues that mainstream belly-dance films made considerable space for homoerotic exchanges amid women. Golden Era belly-dance films reveal a rich gender and sexual diversity in Egyptian cultural production, rather than the Orientalist representation of an explicitly homophobic "traditional" Arab culture. In this sense, the article recovers women's nonnormative and queer legacies within popular Egyptian texts. It does not insinuate homosexuality as inherent but instead locates possible Arab cultural engagements with women's queerness that have been overlooked.

中文翻译：

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跳舞皇后

摘要：本文分析了两部流行的黄金时代肚皮舞电影，Sigara wa Kass (A Cigarette and a Glass, 1955) 和 Habibi al Asmar (My Dark Darling, 1958)，通过酷儿观众、酷儿时间和空间、同性恋的概念三角测量和奇怪的遏制。分析以女性为中心，关注女性的同性恋和非规范欲望，并阅读由性别和性的主流习俗构成和构成的流行电影。它认为主流肚皮舞电影为女性之间的同性恋交流提供了相当大的空间。黄金时代肚皮舞电影揭示了埃及文化生产中丰富的性别和性多样性，而不是东方主义对明确同性恋的“传统”阿拉伯文化的表现。从这个意义上说，这篇文章恢复了女性的 流行的埃及文本中的非规范性和奇怪的遗产。它并没有暗示同性恋是与生俱来的，而是将可能的阿拉伯文化与被忽视的女性酷儿性联系起来。