"C’est facile d’être normal" : Les masculinités performatives dans Die stropers
DOI :
https://doi.org/10.17159/tl.v60i1.14099Mots-clés :
performativité, masculinité hégémonique, Die stropers, nationalisme afrikaans, film en langue afrikaans, cinéma queerRésumé
Dans l’Afrique du Sud post-apartheid, la représentation des identités homosexuelles dans les films en langue afrikaans est devenue de plus en plus importante. Cependant, beaucoup de ces films se concentrent sur des contextes passés ou servent de représentations comiques, sans se confronter aux problèmes complexes auxquels sont confrontés les individus dans les communautés afrikaans contemporaines. Le film d’Etienne Kallos Die stropers (Les moissonneurs), réalisé en 2018, dépeint avec franchise les difficultés rencontrées par les frères adoptifs Janno et Pieter, qui doivent négocier le désir et le genre dans une communauté agricole afrikaans conservatrice. En nous appuyant sur la notion de performativité du genre de Judith Butler et sur les récentes reformulations de la notion de masculinité hégémonique de Raewyn Connell, nous examinons la (re) production discursive de la masculinité afrikaner hégémonique au sein de la famille adoptive et de la communauté des deux garçons. Nous étudions comment les protagonistes déploient stratégiquement des masculinités performatives pour parvenir à l’appartenance et à l’acceptation en tant qu’héritiers, même si les idéaux qu’ils émulent les oppriment et les limitent. Nous proposons que le déploiement stratégique des masculinités performatives par les protagonistes représente leur revendication de pouvoir dans des contextes où le genre et le désir sont agressivement contrôlés. En outre, leur navigation de l’hégémonie dans cette communauté blanche afrikaans par la résistance et le consentement pourrait indiquer une revendication d’espace pour les identités queer et la transmutation continue de la masculinité hégémonique.
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