Adams, J. B., 73
Adorno, Theodor, 86–87, 95–98, 105,
160–61
agency: melodrama and, 39–44; in
“Melodram” of Beethoven’s Fide-
lio, 4–21
Alcestis/Alkestis (Euripides), 17–20,
23
Ali: Fear Eats the Soul (film), xvi, 162;
Haynes’s discussion of, 68–73;
music in, 96–97; queer relations
in, 56–67, 67–73, 84; reality and
melodrama in, 36–44, 176n84
All That Heaven Allows (film), xvi,
18, 26–28, 40; Fear Eats the Soul
compared with, 56–58, 67, 162,
176n84; Haynes’s discussion of,
67–68, 72, 163; queer desire and,
44–55, 176n77; reality and melo-
drama in, 36–44
All That Heaven Allows (Lee), 48
Anarchy of Imagination, The (Fass-
binder), 162
Angst Essen Seele Auf. See Ali: Fear
Eats the Soul (film)
antinomy, Sirk’s discussion of, 24–26
Arabian Nights, The, 136, 139
artistic life, in Highsmith’s Ripley
novels, 125–32
Assassins: A Film Concerning Rimbaud
(film), 23–24
Bach, Johann Sebastian, 112, 115,
119–25
“Ballad of Reading Gaol, The”
(Wilde), 77–79
“Band Played On, The” (song), 87,
98–107, 180n35
Barthes, Roland, 30, 43
Beethoven, Ludwig van, xvi, 105;
Fidelio composed by, 3–21, 105,
155–56
Benjamin, Walter, 120
Berlant, Lauren, x–xi, xv, 44
Berlin Alexanderplatz (Döblin), 27–28,
69
Berlin Alexanderplatz (television
series), 27–28, 64
Bersani, Leo, 31, 126, 165
binarism, homoaesthetics and, 30–32
Black Skin, White Masks (Fanon),
59–60
Blanchette, Cate, 112, 134
Boetticher, Budd, 47–48
Bohemian Girl (Balfe), 146–47
Bouilly, J. N., 9
Bourbon Street Blues (film), 172n8
Bouzerau, Laurent, 92–93
Boy Who Followed Ripley, The (High-
smith), 120–32
Brecht, Bertolt, 23
Breton, Jules, 141
Brett, Philip, 85–86, 91–94
I N D E X
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