Proteus Film Theory

In this paper I will take a gander at John Greyson's film Proteus and talk about courses in which it uncovered and bursts predominant manliness standards and practices which stay widespread in South Africa today. The key terms and ideas that will be considered in the article is that of Queer theory, New queer cinema, Anachronism, Nomenclature and masculinity and sexual relationships, AND queertime
"Queer theory addresses and disentangles standardizing classes of sex and sexuality through its basic practices". "Queer theory has educated and keeps on directing activism around the legislative issues of sexuality through an assortment of social practices". "Strange hypothesis is a reaction to the difficulties postured to lesbian and gay freedom

The attributes of 'new queer cinema' are; regardless of the quick standards of satisfactory subjects managed by western pop culture, this sort of film offers voice to the minimized, they are unashamed in regards to their character's issues or rather violations. This kind of cinema resist the sacredness of the past, particularly the homophobic past, it habitually oppose true to life tradition as far as frame, substance and class, these films from various perspectives resist demise. However, the key route in which demise is opposed is as far as Aids or detest wrongdoing. It isn't just that a feeling of insubordination describes these films, yet that it marks them as strange. Queer new cinema most essential capacity is as an umbrella term or discover just for joining different types of non-straight sexual character. Queer speaks to the protection from, fundamentally, the regulating codes of sex and sexual articulation that manly men lay down with female ladies yet in addition to the prohibitive capability of gay and lesbian sexuality-that exclusive men lay down with men, and ladies lay down with ladies. Along these lines, strange as a basic idea, envelops the non-fixity of sex articulation and the non-fixity of both straight and gay sexuality. (Aaron,

The film influences utilization of "queer time" through anachronistic time. Anachronism is an utility of queer time. Through a non-direct account that starts at the end. Through the utilization of Virgil, a character who lived 30 years after Claas and Rijkhaart. Through the demise of the primary characters; Coke bottles, Land Rover, Cape Town's contemporary city scape, Policemen in Apartheid uniform and in addition the wet-sack torment system utilized amid Apartheid. "… Not just an accentuation of the thought that we experience the past with our current interpretive edges, the spectrality of the present on the past figures a kind of responsibility of the present to its own comprehension of the past" (Aseneault 2013: