Hammer's films offer a critique of the dominant discourse that privileges the discreteness and self-sufficiency of the individualistic human subject. By performing the (lesbian) body in its 'environment'-in erotic and communal relation to other bodies-and staging the relation of human bodies with the materiality of non-human beings and objects, they create a site of intervention into the humanist project, as it informs film studies, feminism, and queer theory.
This rereading of Hammer's work offers an important contribution to conversations between feminism and queer studies. In remembering the feminist origins of queer studies, it recenters political and ethical questions such as the fundamental relationality of the subject, the subject's dependency on others, and the resulting ethical responsibility for and towards the other.
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