By Michael Koresky on May 22, In this biweekly column, I look back through a century of cinema for traces of queerness, whether in plain sight or under the surface. Read the introductory essay. The word, an indicator of how more speculative scholarship gradually filters down into definitive mainstream concepts, has a strange, malleable currency: it has become a significant shorthand of solidarity, not only for members of the gay, lesbian, bisexual, and transgender communities but also for the essential questioners of the dominant heteronormative procreative culture that has historically swallowed all non-binaries whole.
The film is loosely autobiographical, or at least a mosaic of Wellesian adventures and preoccupations:. It was May and Welles entered a Manhattan recording studio to narrate a Spanish Civil War documentary whose script had been written by Ernest Hemingway—who happened to be in the sound booth when Orson arrived. If Papa wanted a faggot, Orson would give him one. Hemingway, how strong you are!
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The scripts for almost all films go through a number of drafts. The changes that are made give an insight into the film-makers' thinking: plots change, themes emerge, characters are developed. Sometimes the film-makers are diverted down blind alleys and this was the case for The Third Man. Victor Fleming, , with whom Korda had struck a four-picture finance and distribution deal in