Barbie’s gay Ken Easter egg, explaed - Polygon

Contents:

• LEARNG GAY LGO: A STARTER GUI!
• GAYSPEAK AND GAY SUBJECTS AUDVISUAL TRANSLATN: STRATEGI ITALIAN DUBBG
• GAY IN DIFFERENT LANGUAG
• TRANSLATG CAMP TALK GAY INTI AND CULTURAL TRANSFERTRANSLATG CAMP TALK GAY INTI AND CULTURAL TRANSFERTRANSLATG CAMP TALK GAY INTI AND CULTURAL TRANSFERTRANSLATG CAMP TALK GAY INTI AND CULTURAL TRANSFERTRANSLATG CAMP TALK GAY INTI AND CULTURAL TRANSFER
• SWARDSPEAK: THE COLORFUL LANGUAGE OF THE FILIPO GAY COMMUNY
• WHAT MEANS TO ‘SOUND GAY’

LEARNG GAY LGO: A STARTER GUI!

A personal touchWe do away wh the middleman, and al directly wh our ctomers and partners, thereby providg a fast, direct, dividually-tailored service at very reasonable at the gay munyWe offer servic that are unique to the market, while addg a special touch to our translatns that mak stand out: our extensive experience and awarens of the LGBT muny. () Wh a transgenr woman  Congrs and the immense populary of shows like Queer Eye and RuPl's Drag Race, gay culture is currently at the foreont of mastream Filipo nscns a way has never been before. Gay lgo sometim has an timate nversatn, to avoid people around them or protectn for virg the Philipp, there is a long way to go for LGBT rights but still, the untry is now payg s rpect to the muny.

(Not showg up) Keri – Not the actrs name but (It’s Okay)Tlili – It is not the water lily (It’s Te)Haggardo versoza – It is not the actor’s name (Tired and haggard)Gutom jon – HungryJ jackson – It so hot (pertag to the weather)The Gay lgo has no l, as long the nstctn of the words ncerned s evolutn to break their – means Cheap (champaka, chapala, or chararat to champorado, chapl, chapa, chop suey and champola. – oh, promise me, pangako, utang/ bt48 years – sobrang tagal/so slowKatol – mhang katulong/ looks like a maidOtoko- lalaki na lalake/ hottie or real manPranella – prang/ crazyOblatn – nakedThunrts – matanda/oldiFrance prieto, pransya – may sayad/ crazy personCryola – cryIkura – how muchKadley – to walkYamey – laterSome gay language is forbidn due to timate word like:Halls – BlowjobFelix Bakat – the pen1s of the man form well of his pantsBgic – mast*rbateBonam – anal s3xPokish – sluttyMakiyawti – smells badLet hear some song the way the Gay sgsBubh and flowerret, jojosok ang reyna na, shochurva ang chacha, pajempot jempo fah, Boom tiyayavh chenIt’s a song wrten by a female group the Philipp. So there are words that may not be clud this list but lets go and explore more words om other parts of the worldDrag queen – a performer who drs flamboyant or exaggerated female clothg and makp for entertament – the abily to perceive whether someone is gay or not based on their appearance, mannerisms, or – a social gatherg of LGBTQ+ people, often wh mic, dancg, and – a term that has been reclaimed by some members of the LGBTQ+ muny as an clive and non-bary umbrella term for all non-heterosexual and non-cisgenr inti.

Rabow flag – a symbol of LGBTQ+ pri, reprentg diversy, clivy, and terms you may wish to know:Bear – A term ed to scribe a larger and hairier gay man, often wh a gged appearance and – A way of behavg or speakg that is seen as exaggerated, theatril, or effemate, often ed for humor or – A term ed to scribe someone who intifi wh feme characteristics or behavrs, regardls of genr inty or sexual orientatn.

GAYSPEAK AND GAY SUBJECTS AUDVISUAL TRANSLATN: STRATEGI ITALIAN DUBBG

What mak the e of this word the sense of homosexual a ltle more than prumed is the fact that gay had long acquired this meang and had been monly ed as a slang word at least sce the 1920s the Uned Stat, although the term did not enter mastream language until the 1940s the USA and the 1950s England (Partridge 2002). Notable as the Hollywood age of the word gay is, I would like to shift the foc to the Italian dubbed versn of Hawks’s film, entled Sanna, which David’s Italian answer to the lady’s qutn about his peculiar choice of clothg is: Perché sono diventato pazzo, ec perché!

Gays 1938 Italy were mad for two reasons: the first is that the very ncept of a homosexual uld never have ma past the fascist ernment’s own censorship ; sendly and more importantly, as the word gay the sense of homosexual entered the Italian lexin as a loan word only the late 1960s (De Mro 1979: 103), is more than likely that the Italian adapter did not know what Cary Grant was talkg about. This quotatn helps me to troduce the object of this article which tends to highlight two ma sensive areas the dubbg of the solled gayspeak to Italian: first, the possible existence of overt and vert manipulative and censorg practic which, at all tim and even today, may have tend to phemize, dilute or alter homosexual ntent and, more simply, to supprs the words of homosexualy; sendly, the necsy of an asssment of the Italian gay lexin as pared to the richns of the rrpondg English termology, orr to terme whether there exists objective problems for the translators who do not have a particular skill for makg up neologisms. Acrdg to Hay, homosexuals e gayspeak three suatns: the secret settg, which is necsary to exprs one’s own sexualy wh circumspectn; the social settg, which gays speak to other people they know to be gay; and the radil-activist settg, which gays ntrol and filter their language what we today ll polilly rrect ways.

This is not the place to tackle fundamental issu, namely the qutn of whether is acceptable, terms of polil rrectns but also of lguistic rrectns, to draw general assumptns on gayspeak as if were the language of a sgle muny, while the social landspe is obvly varied and sceptible to numerable distctns. While is important to keep md the distctns, my purpose here is the analysis of fictnal homosexuals and of their fictnal language as portrayed on the screen mos and ways which may be realistic but are more often than not stereotyped. At issue here is the image of this speech muny as portrayed films wh gay subjects, their fictnal plexy and the relative simplifitn that tends to take place terms of lexil choice and manipulatn of ntents.

GAY IN DIFFERENT LANGUAG

Acrdg to Hay, the richt featur of social gayspeak are found the lexin, particularly pound nstctns, wh queen beg possibly the most wily employed stem word for buildg pounds ed for a limls seri of imag to scribe sexual preferenc (i.

Italian gay lexin has also had a siar evolutn, a siar posive turn as the one Stanley refers to, although the rpective terms eher stggled to fd their way to mastream language or were absorbed as loan words, th keepg an exotic feel to them, a foreign rg. This ttifi to the fact that, at least at the begng, the words stggled to be absorbed by the target culture: gay, transgenr, gout, dragqueen, are now words regnisable by most Italian people, but they are jt about the only words of the homosexual jargon to have entered mastream language. This feature is part of a wir disurse which se gayspeak as speakg om a certa place to a certa dience, as Leap (1997: xi) stat, quotg Irigaray (1985: 135-136), who famoly applied this fn to women’s speakg.

The “actg wh actg” (Hay 1976/2006: 71) and the allns to film stars of the past or other inic figur are, ed, a feature of gayspeak which is often portrayed films and ed stereotypilly to pict mpier characters. Wh s unique style, between the oneiric and the naturalistic, the play vers var issu, cludg the ndn of homosexuals Reagan’s Ameri a perd – 1985 – which AIDS was still nsired the gay plague.

TRANSLATG CAMP TALK GAY INTI AND CULTURAL TRANSFERTRANSLATG CAMP TALK GAY INTI AND CULTURAL TRANSFERTRANSLATG CAMP TALK GAY INTI AND CULTURAL TRANSFERTRANSLATG CAMP TALK GAY INTI AND CULTURAL TRANSFERTRANSLATG CAMP TALK GAY INTI AND CULTURAL TRANSFER

Both the play and the film, the most theatril mp speaker is Belize, an ex drag queen whose speech prents all the tras that Harvey (2004: 449-450) fds characteristic of gay mp talk: the preoccupatn wh sexual activy and a tragi-ic awarens of the ephemeral nature of sexual sire; the ironic, feigned adherence to prcipl of cency; the versn of genr-specific terms, the girl talk; the practice of renamg that clus the adoptn of male nam marked as queer, and the equent e of French, which Harvey (2004: 451) f one of verbal mp’s most nsistent vic English, wh s humoro nod to sophistitn and smopolanism.

In the followg scene, two of the protagonists, Louis and Prr, a homosexual uple, have jt been to the funeral of Louis’s grandmother (the words bold, all the exampl, dite the exprsns which are relevant the analysis of gayspeak):. Instead of rortg, as do, to the general term of omossuale [homosexual] and htg vaguely at nasnre sempre i difetti [always hi the flts], the Italian adaptatn uld have ed the more banal word ‘macho, ’ which is also ed Italian, perhaps losg the homosexual and ironic nnotatns but at least stickg more closely to the meang of Prr’s words.

SWARDSPEAK: THE COLORFUL LANGUAGE OF THE FILIPO GAY COMMUNY

The word closety, although not exclive of the gay vobulary, is nohels often ed the sense of a person who is rerved about his/her sexual orientatn, but also this se Italian lacks a rrpondg term which has the same exprsive ncisens. But the characteristic preoccupatn wh sexual activy allud to by Harvey (2004: 449), which is a mon feature at least of fictnal homosexuals, is here severely phemized when transferred to Italian.

The word nocente – here the sense of both ‘naïf’ and ‘pure, ’ someone who do not enterta any impure sexual thought – is tertg s e here: impli that Louis is fact far om “nocent” and is ed substutn of the origal straight, th implyg that straight is “pure” and homosexual is “impure. The followg exampl, taken on purpose om different media – televisn and cema – and different tim – the prent and the 1970s – are stanc of a more nsc sign to adapt a homosexual disurse to a heteronormative view of homosexuals. Not only are all the famo Hollywood nam, and John Ford’s film Mogambo (1953), [10] which is not quoted but evoked, not transferred to the Italian versn, but the gay fantasy of the handsome drifter be the ntral image of il protagonista [the protagonist].

WHAT MEANS TO ‘SOUND GAY’

As Cameron and Kulick note, today we unrstand homosexualy as an attractn of like to like but “as recently as 50 years ago, homosexualy was more monly unrstood as a matter of genr ‘versn’” (Cameron and Kulick 2006: 4), homosexuals were effemate mal and masculized femal. In different ways, the three exampl show one of the lemotifs of the Italian adaptatn of Six Feet Unr: the purpose to transform a homosexual disurse to a heterosexual one, a purpose achieved by manipulatg both ntents and speech. If some of the adaptatns n be strikg – see for example the Italian translatn of the film Sudnly, Last Summer (1959), [11] entled Improvvisamente l’tate srsa (1959), which I have discsed elsewhere (Ranzato 2009) – my purpose wh this paper is to show the extent to which gayspeak and gay ntents were manipulated subtler ways more recent dvisual products.

Roughly om the 1970s onwards, cema has gradually portrayed more multi-faceted, more plex, more liberated homosexuals than the eher parodistic or the tortured and closeted gay men and women of earlier cema.