By Hook or By Crook- New Queer Cinema

By Hook or By Crook can be read as an example of New Queer Cinema mainly because of the way in which the film engages with unapologetic, seemingly defiant “queer” representations that encompass the theme of intersectionality and test the boundaries of how film tells stories of interlocking violences or marginal identities.  In Michelle Aaron’s introduction Aaron describes New Queer Cinema as a genre of film “no longer burdened by the approval seeking sackcloth of positive imagery or the relative obscurity of marginal production.”  (Aaron, 3) Aaron goes on to describe the way in which New Queer Cinema as a genre gave voice to marginal identities and characters not only by depicting queer sexual “minorities” but by also engaging with different sub-groups within these marginal communities and identities.  By Hook or By Crook fits this criteria of New Queer Cinema to say the least, particularly because of its engagement with disability, gender expression, and sexuality, all of which are constructed in the film in a very unapologetic way even amidst overtly portrayed hardship and violence.

The title of the film in itself, which translates to “By any means necessary,” exemplifies an air of unapologetic marginal existence, a gritty proclamation that seems to suggest, “I don’t need your pity or approval.”  And this is exactly how the two main characters in the film carry themselves and behave.  Both Shy and Valentine display palpable burdens.  The movie begins with Shy fleeing or leaving behind her small hometown in what seems like a search for community and sense of acceptance that perhaps San Francisco has to offer. Likewise, Valentine is in search of her mother and shows evidence of severe disability.  Both Shy and Valentine have “butch” gender expression and are portrayed as being queer in terms of their sexuality.  Both are affected by violence in the film.

None of these “burdens” however are pitied or even explained throughout the film.  Herein lies what makes By Hook or By Crook a perfect fit for the New Queer Cinema genre.  As an audience we watch a very real, very gritty livelihood play out in an unsettling way.  We receive no neatly packaged explanation about the aspects of Shy and Valentine’s intersecting “marginal” identities and we receive no resolution to the interlocking violences that both Shy and Valentine face, violences that as an audience we have been largely trained to pity and “other,” as we search for an imminent solution to make our own discomfort with Shy and Valentine’s reality dissipate.  Judith Halberstam perhaps illustrates this best in describing By Hook or By Crook as a film that “…resists the seduction of crying games and the lure of sentiment.” (Halberstam, 93).  In other words, the queerness of this film is very much set in a queer world where there is little room for tears, apologetic existence or for any storyline or plot to grow out of pity.

In addition to being characterized as a New Queer Cinema film because of its “air of defiance,” By Hook or By Crook also fits other New Queer Cinema technical criteria.  As Halberstam outlines, the film was very low-budget, low-tech, and shot in mini digital video with pans that bluntly “universalize queerness.”  One seen that Halberstam focuses on that largely stood out to me during the film is the scene at the well-known Lexington Bar.  Halberstam writes, “The camera lovingly pans a scene of punky, pierced, tattooed, perverted young queers. The montage lasts longer than necessary signaling that the beauty and intrinsic worth of this world transcends its diegetic purpose.” (Halberstam 95)  This eloquent description synthesizes my own reaction to the scene, a scene that I can remember feeling intimately apart of rather than merely exposed to while watching.  Halberstam contrasts this bar scene with a bar scene in the film, The Crying Game, a film that positions the bar as “a place of perversion and a primal sense of deception,” rather than “an alternative vision of community, space, time, and identity,” as directors Dodge and Howard accomplish in By Hook or By Crook.  I think it would be interesting to contrast the genre conventions of The Crying Game with By Hook or By Crook to further analyze what sets New Queer Cinema apart from other genres in terms of dealing with both queer representations and unapologetic intersectionality.  Below is a link that features a trailer for the film The Crying Game, a more mainstream cinema film that deals with intersectionality in a very different way than By Hook or By Crook.  The trailer in itself features contrasting elements of higher budget filmmaking, dramatic music and seemingly boxing identity portrayals.  Check it out!

http://www.youtube.com/watch?v=8vs_4-QQACo

 

Work Cited

Judith Halberstam.  In a Queer Time and Place: Transgender Bodies, Subcultural Lives.  NY: NYU Press, 2005. 92-96.

New Queer Cinema: A Critical Reader Ed. Michele Aaron. New Brunswick: Rutgers University Press, 2004. 3-14.

Advertisements

2 thoughts on “By Hook or By Crook- New Queer Cinema

  1. D. Hewitt

    Lexi,

    I really enjoyed reading your post of New Queer Cinema and By Hook or By Crook. Your discussion of Aaron and her description NQC is very applicable to the film. Like you mention, NQC “gave a voice to marginal identities” because it was a byproduct of movements to deconstruct social hierarchies of gender, sexuality, and race. NQC—and hence, BHOBC—challenges the notion that different and bad are synonymous.

    This also fits perfectly into your analysis of the film’s title. By Hook or By Crook, or “I don’t need your pity or approval,” as you put it, is a space in which no one was pathologized and in need of remedying. I commend you on exploring the topic of disability in the film—it is very intriguing. It is evident that Valentine is differently abled, but the film’s plot does not strive to correct this. I do wish you had also explored the implications of this. I believe BHOBC makes a bold statement here, seeing that homosexuality was previously listed as a “disease” and gender dysphoria remaining in the DSM. As we talk about intersectionality, I’d be curious as to what your take is on this—how the film discusses gender identity, sexuality, and mental illness and how it depathologizes each.

    Great job!

  2. channabach

    You do a nice job of tracing what Aaron means by New Queer Cinema’s conventions, and explaining how they are operative in BHOBC.

    Additionally, you provide clear filmic evidence and analysis to support your analysis, which makes your claims about the film’s embodiment of NQC politics convincing and filmically/textually-grounded. Your close reading of the bar scene is intriguing, particularly the concrete elements you name as producing the experience of “a scene that I can remember feeling intimately apart of rather than merely exposed to while watching” (in contrast to The Crying Game).

    There is room to further elaborate on The Crying Game and discuss specific elements of the film that contrast with BHOBC, supporting your claims about the films’ divergences. You might, for example, do a close reading of The Crying Game’s bar scene that Halberstam analyzes, and figure out what film conventions are used to create this contrast.

    FYI: The Aaron chapter should be cited as a book chapter in an edited collection. Check the MLA citation guide link on the Writing and Policies pages for how to do this.

    Overall, good job.

Comments are closed.