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In this paper I offer a comparison between three main texts – Richard Miles’ That Cold Day in the Park (1965), Robert Altman’s feature film adaptation of the same name (1969) and Bruce LaBruce’s No Skin Off My Ass (1991) – in the service of addressing the question of selected theories of cinematic cities, and the formation and circulation of their image, in relation to resistance in subcultural youth scenes of, in this case, 1990s homocore.