By Stephen Osborne, Rajan Khanna, Elka Cloke, Ruth Sims, Michael G. Cornelius
What different characters from English literature have captivated hearts and minds as completely as Sherlock Holmes and his unswerving better half John Watson? Many enthusiasts think the connection among those males is deep and greater than platonic. In A examine in Lavender, the Holmes universe is queered and authors have devised tales during which Holmes and Watson are fans, or examine mysteries of inverts hidden from the legislation and cultures of the Victorian period; even the indomitable Lestrade has his flip at love; and eerie apparitions within the evening sky, corresponding to Jules Verne, draw Holmes to Cleveland road, domestic to an notorious scandal.
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Additional resources for A Study in Lavender: Queering Sherlock Holmes
Butler suggests that hegemonic heterosexuality in its constant and repeated effort to imitate its own idealizations is as much an imitation as drag and, therefore, holds no claim to being natural (Bodies 125). The idea of the masquerade goes against that of masculinity since masculinity has traditionally been conceived of as natural; but masculinity is a performance and that performance can be a false one—a masquerade. One way to negotiate the effects of changing social roles for men is to ignore them, and this can be accomplished through troubled masculinity masquerading as untroubled.
As Michael Ryan and Douglas Kellner state: “Genre films have been some of the most powerful instruments of ideology. [. ] But the close tie between genre films and social ideology means as well that genre films are among the most fragile forms, the most vulnerable to the effects of social change” (76). The longevity of a genre depends not so much on the repetition of the conventions of the genre as on the differences—the innovations—that make each film new and exciting. As Altman argues, change must occur within a genre; otherwise it would go sterile (21).
13 However, a film cannot be seen as belonging to a genre without containing some of the elements associated 22 DETECTING MEN specifically with that genre: in the detective film a crime must be committed, a mystery must surround that crime, and a protagonist must investigate the crime and solve the mystery. That said, one of the aims of this study is to problematize the notion of genre in terms of looking for a category that can contain a wide variety of films over a long period of time. Narratives that contain the preceding list of conventions—a crime, a mystery, and a detective—can all be seen as falling under the umbrella of the detective genre; however, the detective genre has undergone many cycles of development over the decades, and each cycle of films can be seen, more or less, as an autonomous subgenre or trend—films that have much more in common with other kinds of film from that social moment than with detective films from another decade.
A Study in Lavender: Queering Sherlock Holmes by Stephen Osborne, Rajan Khanna, Elka Cloke, Ruth Sims, Michael G. Cornelius