Abstract:

The 2019 film And Then We Danced (And Then We Danced) is directed by Levan Akin, which discusses the conflict between modernism and tradition in the process of nationalization in Georgia on the issue of the liberation of queer identities. The scope of the film consists of three issues: the contradictions that national states experience in the process of modernization, the impact of places and traditions on the building of sexual identity, the discovery of sexual orientation and the LGBT's social view of individuals is the rebellion of social norms through the LGBT culture. The film shows that, despite modernization on daily life relationships, tradition is trying to be preserved, sexuality is re-produced and sexual orientation is trying to be shaped. The film shows that the community of supervision is created by paying attention to both the individual’s sexual identity and the power relationships in many aspects of daily life. In this context, the film combines the criticism of Henri Lefebvre’s daily life and the modern forms of power by Michel Foucault. In addition, on the basis of the 'Queer' and similar points to its theoretical approach, which was conceptually addressed by Judith Butler, national states will be assessed on the sexual identity of individuals. This is why the theoretical framework of the film is also made up of these contexts. Daily life is influenced by globalization, modernism, technological and other developments. When these developments are taken into account, the impact of the ordinary, simple, simple daily life of individuals, which is transformative and actually ideological on individuals; the concept of alienation, which is the moment of the work of Lefebvre, and the shows in the film will be discussed by examining. The dialogues in the film are interpreted by the technique of extracting from the methods of content analysis.

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