<p>The aim of this essay is to answer the question of how, and in what ways Martina Bigert’s and Maria Thulin’s picture <em>Allt om min buske</em> (literally, <em>All about my bush</em>) is queer. Inspired by Judith Butler’s idea of the heterosexual matrix, and Michel Foucault’s discourse I attempt to investigate how sex and sexuality are described in relation to heteronormativity, and if <em>Allt om min buske</em> is either norm-breaking or norm-creating in a wider perspective. This study concludes that antinormativity and queerness are evident within the framework of the picture. It portrays, for example, female masculinity and male femininity, a woman’s desire for another woman, femininity attracted to femininity and phallic symbols associated to female characters, all in a narrative structure that resembles female sexuality. My study also reveals how film critics used <em>Allt om min buske</em> to create and maintain social and cinematic norms.</p>

The aim of this essay is to answer the question of how, and in what ways Martina Bigert’s and Maria Thulin’s picture Allt om min buske (literally, All about my bush) is queer. Inspired by Judith Butler’s idea of the heterosexual matrix, and Michel Foucault’s discourse I attempt to investigate how sex and sexuality are described in relation to heteronormativity, and if Allt om min buske is either norm-breaking or norm-creating in a wider perspective. This study concludes that antinormativity and queerness are evident within the framework of the picture. It portrays, for example, female masculinity and male femininity, a woman’s desire for another woman, femininity attracted to femininity and phallic symbols associated to female characters, all in a narrative structure that resembles female sexuality. My study also reveals how film critics used Allt om min buske to create and maintain social and cinematic norms.