摘要
The aim of this paper is to examine the creative queer geography of Daniel Nolasco’s movie Dry Wind.The main argument indicates that,instead of representing countryside cities exclusively as places of repression and denial,the movie shows part of the countryside gay culture.The realism of the fertilizer factory and the aridity of the city of Catalão are opposed to the extreme stylization of vibrant colors and blinding neon lights of the main character’s fetishist imagination,which indicates how he increasingly surrenders to his desires.Beyond the pornographic representation of homoerotic desire,Dry Wind also proposes alternatives for affective expressions of masculinities that do not conform to the prevailing moral standards.
