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 developments by Aids, the way
of life wars and personality governmental issues” (Zeilinski, 2007, p.
1188).

 

New Queer Cinema was described by an
industrious refusal to offer in to the disparagement of gay men, transgender
society and queers. 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, 2004).

The film Proteus proposes endeavours
to reconfigure with a story of strange manliness as a vehicle those talks that
let same-sex sexuality well enough alone for the national account. It muddles
the direction of South African history and its story of white heterosexuality,
flowing a recorded occurrence of queerness in the authentic account. In that
capacity, it puts a strange authentic account inside reach as an introduction
gadget, encouraging distinctive comprehension of “culture” that may
permit differently racialized bodies to live queerly. (Arseneault, 2013, p.
43).

Anachronism implies the setting of a
question/element inside an opportunity to which it doesn’t have a place. 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: 46)

The King Protea Motif. The film over
and over slices to a picture of the Protea bloom which is a South African
national image, this image of national pride is purposely put in an anecdote
about a gay relationship, making a relationship between gay pride and national
pride.

Resistance from Nomenclature: the
naming and grouping of the common world e.g. types of plants, creatures e.g.
Proteaceae for ‘lord or mammoth Protea.’ The film opposes different types of
classifications. Towards the finish of the film when the judges request Claas
for his admission he reacts “we did IT” declining to give the lawful
term “homosexuality.” What is the IT he is discussing? Might it be
able to be their adoration, sex, sentiment and so forth. What are a portion of
the threats of naming? “..the essentialist development of character,
specifically sexual personality are at this point plainly obvious and in
contemporary South Africa ideas of ‘culture’ or what is socially adequate or
‘typical’ keep on occupying the all-important focal point” (Bhana 2007:
135).”The film is about having inhabited a period when that personality
didn’t exist, when it wasn’t accessible, and how you characterized yourself
under those situation” Aseneault 2013: 54).

The film raises issues, for example,
the impacts of minimizing strange masculinities. The types of viciousness
cultivated by hegemonic manliness (in the film manliness is synonymous with the
law and the law offers the danger of death to same-sex couples). The impact on
family structures and social bonds. The film investigates the unstable and
shrewd interrelationship of histories, countries, stories, and the law;
realistic expectation and spectatorial elucidation; same sexuality,
conjugality, and contrast; and even, as one member sets out to put it, adore.
(Benn-Asher, Brasell, Garrett, Greyson, and Newton-lord, 2005, pp. 437-438).
The film’s thoughts are pertinent to more than one circumstance, and those
thoughts incorporate the accompanying; law isn’t generally just; scholarly
people have restricted control over the employments of their work; science some
of the time bears the preferences of its chance and place; friendship and want
originate from startling spots; character is confused; individuals are
constrained by social conditions; Europe is in charge of progressing both human
progress and viciousness and history can be re-imagined (Benn-Asher, Brasell,
Garrett, Greyson, and Newton-lord, 2005, p. 451) . Proteus seems to put gay men
in a position where, rather than adding to the compromise of the genders, it
tries to accommodate the races in a specific national setting. (Benn-Asher,
Brasell, Garrett, Greyson, and Newton-lord, 2005, pp. 453-454).

Proteus uncovering of a genuine
authentic trial is noteworthy in that the film upsets official stories of South
African history and redraws the lines of national recognizable proof that have
special especially hyper manly methods of introduction, even in politically-sanctioned
racial segregation activism.The films queering of South African History
likewise reacts to the countries moderate reaction against dynamic sacred
insurances for sexual minorities in 1996 and the legitimization of gay marriage
in 2006. In reality, the thought that homosexuality is “unAfrican” or
a western import is a mantra, comprehensively talked about in South African
media and Criticsm, that plagues numerous African pioneers disparagement of
strangeness. (Arseneault, 2013, p. 41).

Men engage in sexual relations in
jail, even today, and for the most part don’t rise discussing the considerable
love found there, Claas’ admission toward the end appears to leave his want not
to backpedal to jail passing is best. The possibility that an African or a
non-white individual should forfeit himself for any other person’s advantage is
horrendous. The storage room has turned out to be one of the primary
similitudes of gay experience and it is utilizes improperly, distorting
awareness, experience, and history. It’s crazy to imagine that Claas ought to
have a “turning out” experience when such an articulation would
prompt demise. (Benn-Asher, Brasell, Garrett, Greyson, and Newton-ruler, 2005,
p. 454) Proteus draws the gathering of people out of a framework information
that maintains the one-sided energy of arrangement, as Class debases evidently
target radical terminology. (Arseneault, 2013, p. 48). The trial scene of the
film is of urgent centrality to rethinking the lines that differentiate
contemporary South African eccentric groups who, at the season of the film’s
discharge, were moving toward the finish of a battle for same-sex marriage
(Arseneault, 2013, p. 49).

Despite the fact that Claas and
Rijkhaart themselves don’t really constitute a group unto themselves they
surely convey suggestions for the more extensive “gay group” of South
Africa and in addition to disturb how group inside South Africa has been
Hitherto only spoken to. The kind of group this film addresses includes a
comprehension of group that disturbs instruments of racialization that
heterosexualize dark bodies and prohibit eccentric want from the national
story. The film, as it forgrounds the procedure that Rijkhaart and Claas
experience, upsets racially segregatory lines of group and culture and takes
after characters who develop new subjectivities in view of eccentric want.
Following the film, we may start to thoroughly consider strange want,
homosocial want, or different methods for being with other men, as one approach
to disturb the normativity oF prohibition in the post-politically-sanctioned
racial segregation period. (Arseneault, 2013, p. 56)