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This chapter examines an anomalous moment in Beethoven’s opera, the one place where speaking voice is accompanied by music (a combination that defines melodrama). It suggests that the inventiveness of this moment does not so much suggest a way beyond the political impasses of gender on which the situation of the opera depends as offer other, queer ways to see beyond the dilemma of the opera in which agency is limited by a constrained sense of gender difference.

This chapter explores the queer relationships between and in Sirk’s All That Heaven Allows, Fassbinder’s Ali: Fear Eats the Soul, and Haynes’s...

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