the Beat movement, was pretty much created on the spot, and this part of the film lets you see why. For more on the animation, click here.) In real life, the reading caused a sensation-the image of the San Francisco Renaissance, a.k.a.
(For more on the re-enactment of the reading, click here. Not only does he look quite a bit like the young Ginsberg (before he went bald and grew the shaman’s beard), but he has his clipped mannerisms down perfectly and, more remarkable still, he reads poetry like a poet (something few actors do at all successfully), so much so that I wish the filmmakers would have just shown Franco reading during those scenes and not cut away now and then to a cartoon dramatization of the poem the animation is too literal and distracts from Ginsberg’s language. James Franco, as Ginsberg, is stunningly spot-on. 7, 1955, with what he later described as “a strange, ecstatic intensity”-his friend and literary soul mate, Jack Kerouac, who was passing around the jugs of wine, would refer to the event as that “mad night”-and the film re-creates it with a properly hushed thrill. This paper attempts to interrogate this very discursive queer identity and performative politics in Ginsberg's poetry.Ginsberg gave his first reading of “Howl” at the Six Gallery in the North Beach district of San Francisco the night of Oct. Nevertheless, the agency of a Deleuzian 'queer masochism' entailed in a Butlerian queer performativity can be inferred as a potential strategy for refashioning queer literary politics. However, there can be located a counter-subversion at work in this portrayal of queer masculinity by virtue of its drawing from the very heteronormative constructs that it intends to subvert. These ecstatic performances reveal gender and sexuality as 'performative,' contributing towards a construction of a 'homosexual masculinity' which is subversive of heteronormative politics.
The writing back by the marginalised sexual 'Others' employs the agency of representing pain as liberating, subversive, and pleasurable. In a de Certeauan portrayal of 'queer' sexual encounters, the actors tend to subvert notions of the heteronormative hegemony over sexuality, sexual bodies, and masculinities. Allen Ginsberg's Howl presents a complex idea of queer identity politics restructuring American urbanity.
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