A standard queer movie.

Even according to the classification standards of all queer movies mentioned above, Heidegger and Angry Inch can be regarded as queer movies, although none of the characters in the movie directly declare their homosexual tendencies. There are various genres of films, thus forming the characteristics of mixed styles-some are music films, some are concert films, and some are (fictional) biographies. All these styles and genres satirize sex, drugs, rock music, global politics, entrepreneur myths and personal identity politics. The film focuses on a punk rocker who perfectly portrays a person whose gender and identity are in an uncertain state, named Heidegger. This person tries to regain his/her status as a music star by being impersonated by others, and this impersonator is a more successful (and traditional) rock star. The film tells the story that Heidegger was born in East Berlin through several music clips. The boy's original name was Hansel. Later, he underwent sex-change surgery in order to marry an American soldier named Lu Se, thus escaping from the iron curtain of the Cold War. However, the transsexual operation was "messed up", and hansel-now called Heidelberg-left a little scar, which is called "Angry Inch" in the title. (In addition, Heidegger's accompaniment band is also called "Angry Inch". ) After coming to America, Heidegger was abandoned by Lu Se. Later, Hedwig became friends with a teenage boy named Tommy Spike. This man became a famous rock star because he sang Heidegger's songs and got Heidegger's guidance, and changed his name to Tommy Ganoderma lucidum. Next, in order to maintain a star status with less queer and weird features, Tommy began to alienate Heidegger. There is a lot of space in this film about how Heidegger tried to reconnect with Tommy-in order to regain the reputation and identity stolen by Tommy, so as to regain his "complete" self.

Heidegger and The Inch of Wrath first started their careers in new york, where they performed a series of cross-dressing shows. Among them, the founder and starring John Cameron Michel did some conceptual designs for Heidegger. Later, these performances were accompanied by Stephen Trasco's music and lyrics creation, thus entering the performances around Broadway. This kind of performance soon became a hot topic in the critics and a phenomenon of fashion discussion. The adapted film version is still starring and directed by Michelle, and the producer is Kristi Wachin's Heizi Film Company, which produced many related works in the wave of independent queer movies in the1990s. The film is mainly based on the original idea of stage play, showing Heidegger's role in a concert, and he/she experienced an emotional explosion crisis for this. The film combines music, songs and some documentary clips with narrative scenes, as well as animated scenes and chorus with the audience ("Dance with that wig!" )。 It is through this technique that the film not only absorbs and subverts some concepts of the traditional form and content of Hollywood, but also the resulting stylistic features are very consistent with the characteristics of most queer films.

Hedwig and An Inch of Anger laid a core proposition of queer theory: that is, desire and identity-regardless of race, gender or other aspects-are not static and fixed things with specific essence, but a flowing and changing state, which is composed of a series of scripts. The film itself is composed of a batch of performances, and Heidegger's dress and behavior-not to mention his/her gender and identity-are always changing. The song "Wig in a Box" celebrates the power of Heidegger's wig to change people's identity: he can be "Midwestern Midnight Call for the Queen", "Miss Beehive 1963" or "Miss Farrah Fachet on TV". When the film shows this music scene, Heidegger's trailer becomes a stage. ) Heidegger's identity has become blurred, combining some characteristics of "Friday Man" Yitzhak and her favorite pupil Tommy. In order to further strengthen queer's desire and sense of identity, Yitzhak's male role is played by actress milam Shaw (in the stage version of the performance, Michelle plays the roles of Heidegger and Tommy). At the end of the film, Hedwig throws her wig to Yitzhak-the male role played by this woman is going to become a woman now-and then meets Tommy, which can be regarded as a model of music. Tommy realized what he had taken from Hedwig, and Hedwig began to realize that she/he was complete and didn't need to look for her lost partner. The last picture in the film is Heidegger naked-or Tommy? Or Michelle? -Walk away from the camera and enter a new world full of possibilities.

The alternative mode of gender and physiological identity is vividly reflected in the song "Roots of Love". According to Plato's viewpoint in the book "Drinking Articles", a mythical explanation of human sexual desire is produced. In this song, Heidegger describes how human beings are composed of four legs, four arms and two heads, including two men, or two women, or a man and a woman "sticking together back to back". With the narrative development of this song, the gods were angry with this synthetic human being, so they decided to punish them and separate them from each other in half, thus creating love of the same sex and the opposite sex, while the "lonely two-legged life" tried to find a complete self through sex-sometimes in a very short time. This ballad is shown in the form of an animation in the film, which shows the natural and seamless mutual transformation and change between men and women, gods and humans, dinosaurs and lizards. This film visualizes this process through animation, thus highlighting the strange connection between various labels and classifications that we use to describe human sexuality and identity. As Heidelberg pointed out in another song, "there is not much difference between a bridge and a river/without me in the middle, baby, you will be nothing." ( 14)

The film Heidegger and Angry Inch Band is very popular in the critical circle because it is both funny and alert, and pays equal attention to thinking and satire, and has won many praises and awards. However, the distribution of Hedwig and Angry Inch in the United States has been restricted, mainly in independent art theaters in some big cities. The release of DVD makes this movie, like many other gay movies, be seen in some remote cities. This film belongs to marginal production because it was made outside the Hollywood system of the mainstream American film industry. The rest of this book will fully show that Hollywood's attitude towards queer content and queer-style movies is often taciturn. Even at the beginning of 2 1 century, Hollywood still adhered to the discourse position of heterosexual centralism.