Academic literature on the topic 'Homosexuality in films'
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Journal articles on the topic "Homosexuality in films"
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Gauram, Bedse Sunita, and M. D. Dugaje. "Representation of LGBTQIA in Bollywood Films." Integrated Journal for Research in Arts and Humanities 4, no. 2 (April 27, 2024): 145–48. http://dx.doi.org/10.55544/ijrah.4.2.24.
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India produces more Hindi films than any other country. Film portrayals of society mirror that culture, which in turn shapes social attitudes. Hindi film, also referred to as Bollywood, exhibits strong societal roots. The Delhi High Court authorized homosexual behavior in the last ten years, but the Supreme Court later declared it to be unlawful. These modifications mirror modifications in social views. In this paper, we focus on how homosexuality is portrayed in Hindi films in relation to social attitudes about both male and female homosexuality. In India, cultural and social values and attitudes towards sexuality have historically been positive. However, during the 200 years of British colonial rule, these values and attitudes towards homosexuality and homosexual men and women became extremely negative and even punishable, in line with the prevalent Victorian views on sex and sexual activity. The literature has identified and documented several sexual descriptions and identities. In this essay, we discuss a tiny number of Hindi movies that deal with homosexuality. These representations have generally been unfavorable. We discuss the reasons why this would be the case as well as the effect that these portrayals might have on viewers.
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Chareyron, Romain. "Off the Beaten Path." Screen Bodies 3, no. 2 (December 1, 2018): 17–38. http://dx.doi.org/10.3167/screen.2018.030203.
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This article offers a reflection on the ways in which the representation of gays and lesbians in contemporary French cinema has mostly focused on specific and limiting traits. With their choice of locales (Paris and other cities) and bodily characteristics (young, fit), these films convey a restrictive view of homosexuality. Such portrayals have gained traction due to their numerous iterations in films and in the media. By focusing on the works of three directors who have adopted a radically different perspective in their portrayals of homosexuality, this article will highlight the close ties that exist between sexuality and topography. Providing a more true-to-life account of homosexuality, the films move away from cities to investigate the geographical margins. In so doing, they question the tenets of France’s republican ideals, where differences tend to be smoothed out in favor of unity and homogeneity. These films reinstate diversity and individuality at the heart of their narratives.
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Rudy, Rudy. "THE DEPICTION OF HOMOSEXUALITY IN AMERICAN MOVIES." Jurnal Humaniora 28, no. 1 (June 4, 2016): 59. http://dx.doi.org/10.22146/jh.v28i1.11502.
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This study focuses on the depiction of homosexuality in American films. It is intended to identify the images of gays depicted in American films as well as the characteristics of American gay movies. It incorporates library research by applying an analytical descriptive approach in analyzing the data. The symbol and reflective theory is used to analyze 18 American movies and 14 gay films from other countries in the early 2000s. It shows that gay films can attract audiences by describing gays as the objects for laughs; gays revealing their sexual identities; sexual scenes of gays; masculine gay men; and violence in gay life. They appear in genres like drama, comedy, romance, detective, western, and horror/mystery with two images of gay people shown in American gay movies; they are the portrait of gays as a minority and the pessimism. However, it also shows that some American gay films picture good gay life, happy gay couples, gay marriage, etc.
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Nelson, Jeffrey. "Homosexuality in Hollywood films: A contemporary paradox." Critical Studies in Mass Communication 2, no. 1 (March 1985): 54–64. http://dx.doi.org/10.1080/15295038509360061.
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Camilla, Lauren De. "LGBTQ+ female protagonists in horror cinema today: The Italian case." Journal of Italian Cinema & Media Studies 8, no. 2 (March 1, 2020): 221–35. http://dx.doi.org/10.1386/jicms_00018_1.
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Abstract This article examines representations of LGBTQ+ female protagonists in three recent Italian horror films: La terza madre (The Mother of Tears) by Dario Argento (2008), A Pezzi: Undead Men by Alessia Di Giovanni and Daniele Statella (2013) and The Antithesis by Mirabelli (2017). As homosexuality traditionally falls within the realm of the abject (that which is expelled) in horror films, the genre serves as a medium through which we may assess national and global sensibilities about LGBTQ+ identities. Filmic textual analysis and a consideration of horror and melodrama conventions reveal how these protagonists expose cultural anxieties about non-normative sexual orientations in Italy today. While these films include minority protagonists and offer some resistance to discrimination, they ultimately represent homosexuality as a threat to mainstream Italian culture.
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Sánchez del Pulgar Legido, Rosa María. "Homosexualidad latente en el cine del siglo XX = Homosexuality hidden on Cinema of the XX century." FEMERIS: Revista Multidisciplinar de Estudios de Género 2, no. 2 (July 31, 2017): 99. http://dx.doi.org/10.20318/femeris.2017.3760.
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Resumen. Desde el principio del siglo XX en los Estados Unidos y Europa, las personas vivían su homosexualidad a escondidas por temor a las leyes que la castigaban; el cine pues, les representa del mismo modo creando una subcultura en la que pueden ser ellos mismos.La cinematografía clásica y los años posteriores se componen de numerosos filmes cargados de representaciones homosexuales de manera oculta. Interpretados desde una lectura queer, conoceremos las mil maneras de sugerir a los gais y a las lesbianas en la gran pantalla, descubriendo así la verdadera condición sexual de muchos personajes.La modalidad latente sugiere la homosexualidad sin llegar a expresarla explícitamente. Los filmes se producían y leían en clave heterosexual, pero a lo largo de todo el largometraje hay un subtexto homosexual.Este estudio atiende a la presencia de personajes gais y lesbianas, principales o secundarios; en los que su homosexualidad es latente por imposición de la censura. A fin de lograr una reflexión crítica sobre sus características y evolución, se estudian también algunos ejemplos claves de representación semilatente y explícita.El objetivo principal es conocer las razones de la censura y responder a cómo se podía ofrecer un relato con componentes homosexuales sin que ésta se percatara. La intención es analizar el contenido de esos filmes, la evolución de los roles y los significados que se han vinculado a cada uno de ellos y encontrar las relaciones en el discurso latente.Palabras clave: homosexualidad, representación latente, cine, LGBTI, gay, lesbiana.Abstract. From the beginning of the XX century in the United States and Europe people lived their homosexuality hidden for fear of the laws that punished it. The cinema represents them in the same way by creating a subculture where homosexuals can be themselves.Classical cinematography and beyond are composed of numerous films loaded with homosexual representations hidden. Interpreted from a ‘queer’ reading we know the thousand ways of suggesting gays and lesbians on the big screen, exposing the true sexual condition of many characters. Latent homosexuality suggests mode without explicitly express it. The films were produced and read in straight key but throughout the film there is a homosexual subtext.Gay statements had to be clear enough but care enough to avoid arousing the suspicion of the censors whonsometimes omitted so many movie scenes that were lacking a logical narrative.It pays attention the presence of gays and lesbians, major or minor characters, which their latent homosexuality is imposing by censorship.The main objective is to understand the reasons of censorship and respond to how they could offer a story with homosexual components without noticing it. The intention is to analyze the content of these films, the evolution of the roles and the meanings have been linked to each of them and find relationships in the latent discourse.Keywords: homosexuality, latent representation, cinema, LGBTI, gay, lesbian.
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Casanova, Fábio. "Portraying Homosexuality in Hollywood The Case of The Children’s Hour and Carol." Via Panoramica: Revista de Estudos Anglo-Americanos 11, no. 2 (2022): 62–72. http://dx.doi.org/10.21747/2182-9934/via11_2a5.
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This essay seeks to analyse the depiction of homosexuality in the films The Children’s Hour(1961) and Carol(2015). For that purpose, we start by considering the main plot points ofeach film. Then we move into an overview of the cultural and social background of each work. In the case of TheChildren’s Hour, we discuss the relationship between this and other Hollywood films from that time with the same subject. We also take into consideration the reception of the homonymous play by Lillian Hellman that inspired this film. As far as Carolis concerned, we delve into the social circuit of Patricia Highsmith (the author of the novel on which Carolis based): 1950s New York. As a result,we realise the importance of such a novel being published in 1952, as well asa possible reason why it was justnow made into a film. Finally, we compare how both films portray homosexuality and lesbian love stories, relating their differences to eachfilm’s historical background.
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Amaranty Putri, Tisca, and Anton Sutandio. "Conflict Analysis in Luca Guadagnino's Call Me by Your Name." DIALEKTIKA: JURNAL BAHASA, SASTRA DAN BUDAYA 10, no. 1 (July 29, 2023): 128–39. http://dx.doi.org/10.33541/dia.v10i1.4713.
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This article analyzes the conflicts experienced by the main character in the film Call Me by Your Name by Luca Guadagnino. Guadagnino is an Italian director known for films such as The Protagonist (1999), I am Love (2010), and Suspiria (2018). Call Me by Your Name (2017) is Guadagnino's film which discusses the issue of homosexuality set in a rural area in Lombardy, Italy in 1983. The analysis focuses on aspects of conflict because the issue of homosexuality is most clearly reflected through this aspect. The analysis is carried out to reveal the types of conflicts that occur, the causes of conflicts, conflict resolution, and how the film's cinematography helps visualize these conflicts. By using the formalism approach, it is concluded that there are two types of dominant conflict, namely social conflict and inner conflict. The main cause of the conflict is the character's inability to express his identity as a homosexual. The cinematographic aspect also helps conflict analysis through the visualization that is displayed.
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Juvonen, Tuula. "Transnational Connections." lambda nordica 29, no. 1 (April 15, 2024): 91–107. http://dx.doi.org/10.34041/ln.v29.931.
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In reference to recent interest in transnational queer studies, this essay takes steps to document the long-standing tradition of cultural connection and exchange with regard to homosexual images that has taken place across the Gulf of Bothnia and influenced the understanding of homosexuality, lesbianism included, in both Finland and Sweden. It argues that the cross-border exchange has not only nourished lesbian and gay culture and cultural production in both countries, but also influenced the way in which homosexuality – and thereby the countries themselves – have been viewed. In the article, Finnish cultural products, such as detective novels, films, scandal and porn magazines are searched for traces of the enduring idea of Swedishness being intrinsically intertwined with homosexuality. Whereas the image of Sweden was rather tainted by homosexuality in the 1950s, the public perception of Sweden in Finland changed markedly in the 1960s. In addition to ideas changing, people also started to travel between the two neighbouring countries, ensuring that the cultural exchange was by no means a one-way street.
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Abdel Karim, Maria. "Queer representation in Arab and Middle Eastern Films." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 71–86. http://dx.doi.org/10.33178/alpha.20.06.
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Queer representations have been present since the 1930s in Arab and Middle Eastern cinema, albeit always in coded forms. However, the idea of homosexuality or queerness in the Middle East is still not tolerated due to religious, political, social and cultural reasons. Middle Eastern filmmakers who represent homosexual relations in their films could face consequences ranging from censorship to punishment by the State or religious extremists. This article explores the representation of lesbians in three transnational Middle Eastern women’s films: Caramel (Sukkar banat, 2007) by Nadine Labaki, set in Lebanon, Circumstance (2011) by Maryam Keshavarz, set in Iran, and In Between (Bar Bahar, 2016) by Maysaloun Hamoud, set in Israel/Palestine. It analyses the position the female lesbian protagonists occupy in the narrative structure and their treatment within the cinematic discourse. The article will examine mise-en-scène elements and compare each director’s stylistic and directorial approach in representing homosexuality within different social and cultural contexts. It will also prompt discussions related to queer identity, queer feminism, women’s cinema, audience reception and spectatorship within the Middle East.
Dissertations / Theses on the topic "Homosexuality in films"
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Ogawa, Sho. "Conflicting views of homosexuality among the mainstream films and gay "pink" films of Japan." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1217700754.
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Lim, Song Hwee. "Male homosexuality in films from China, Taiwan and Hong Kong of the 1990s." Thesis, University of Cambridge, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.444729.
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Chua, Ling-Yen. "Deviant intersections : interrogating discourses of race, sexuality and non-white homosexuality in contemporary films." Thesis, University of Warwick, 1998. http://wrap.warwick.ac.uk/108332/.
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This thesis attempts to provide a critical framework for discussion of English language films featuring non-white homosexual characters and contribute to the on-going debate concerning the cinematic representation of racial and sexual minorities. It does not attempt to offer an exhaustive account of the field. Emphasis is placed on why there have previously been few films containing non-white homosexual characters and why there are now more such films, as well as identifying the way in which these characters are depicted. The study begins by examining the intimate relationship between Western construction of racial and sexual discourses. Through analysing several contemporary films and reviewing critical literature from the fields of post-colonial and “race” criticism, lesbian, gay and gender studies, I argue that (white) homosexuals and non-white people have often been depicted as analogous, although not identical, in sexual “perversity”. I further suggest that they are depicted as similarly deviant because of the reproductive threat that they pose to the white heterosexual norm. The homosexual actions of nonwhites, (who have historically been stereotyped as “naturally” sexually deviant), are usually interpreted as an example of their loose morality, rather than as an indication of non-heterosexual identity. By contrast, white subjects who engage in homosexual practises are usually accorded a lesbian or gay identity. I argue that the recent increase in the number of films containing non-white homosexual characters reflects the influence of “politically correct” discourses and theories of “hybridity”. I further suggest that the crossover success of a number of these films indicate that traditional stereotypes of race and sexuality are now called into question.
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Ings, Welby. "Talking pictures a creative utilization of structural and aesthetic profiles from narrative music videos and television commercials in a non-spoken film text : this thesis is submitted to Auckland University of Technology in partial fulfilment of the degree of Doctor of Philosophy, 2005." Click here to access this resource online, 2005. http://repositoryaut.lconz.ac.nz/theses/188/.
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Thesis (PhD) -- Auckland University of Technology, 2004.The digital copy of the exegesis, and the 2 CDs of images, props and environments created for the work have been removed from the thesis and are held by the Library's Digital Services Team. Also held in print (423 p. : ill. ; 25 x 27 cm. + 1 DVD of the film Boy (ca. 15 min.)), in Wellesley Theses Collection. (T 791.4372 ING)
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Sánchez, Mosquera José A. "Democratic gays, modern gays the construction of homosexual characters in Spanish films during the transition (1975-1978) /." Connect to this title online, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD%5F0020/MQ57684.pdf.
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Ho, Ka-hang Jason. "Reinterpreting a queer experience a study of Stanley Kwan's films and their reception /." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B34877642.
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Ho, Ka-hang Jason, and 何家珩. "Reinterpreting a queer experience: a study ofStanley Kwan's films and their reception." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B34877642.
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Melo, Rogério Amador de [UNESP]. "Imagens, sensações e afetos: as personagens gays nos curtas-metragens brasileiros exibidos no Festival Mix Brasil de Cultura da Diversidade." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/133965.
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IMAGENS, SENSAÇÕES E AFETOS AS PERSONAGENS GAYS NOS CURTAS-METRAGENS BRASILEIROS EXIBIDOS NO FESTIVAL MIX BRASIL DE CULTURA DA DIVERSIDADE.pdf: 1486696 bytes, checksum: 7288803410217e25e6099b8e2eb06d18 (MD5)Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-02-02T13:44:14Z (GMT) No. of bitstreams: 1 melo_ra_me_assis.pdf: 1486696 bytes, checksum: 7288803410217e25e6099b8e2eb06d18 (MD5)
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As visibilidades e as múltiplas possibilidades de novas experimentações que são postas nos mais diversificados palcos do contexto social, no tocante as sexualidades, gêneros e desejos, acabam por traçar territórios estéticos nos campos das artes, tais como o cinema, o teatro, a dança, etc. Expressões de desejos que se colocam em resistência às estratificações e normatizações heteronormativas, abrindo espaços para invenções de políticas/éticas/estéticas que rompam com o pragmatismo, com o essencialismo das normas e dos poderes estabelecidos por enunciações e discursos de saberes/verdades/prazeres hegemônicos. Neste contexto, essa dissertação propôs-se mapear os modos como são produzidos os discursos, os desejos e as performances de gêneros e sexualidades dissidentes à heteronormatividade em curtas-metragens brasileiros exibidos durante o Festival Mix Brasil de Cultura da Diversidade – Cinema, Teatro, Música e Literatura, que tenham como protagonistas homens gays. Para tal, utilizamos uma metodologia que buscou dar visibilidade às conexões rizomáticas das linhas que se entrecruzam entre Psicologia, Sexualidades, Gêneros, Desejos e Cinema. Assim, inspiramo-nos nas interlocuções potentes do método genealógico e da técnica da análise do discurso foucaultiana, combinados às perspectivas Queers e o pensamento deleuzeguattariano sobre a produção dos desejos. O campo amostral da pesquisa percorreu os anos de 2008 a 2013, onde foi selecionado para análise um curta-metragem edição/ano, além de entrevista com os organizadores do respectivo Festival. A partir disso observamos que os elementos presentes nos discursos e enunciados destes curta-metragens analisados possibilitam a desconstrução e desnaturalização dos desejos e das (homos)sexualidades dentro de padrões normativos e essencializadores. Todavia, tais curtas apresentam também outros elementos que nos levam a pensar em certa suavização da homocultura nacional retratada nas personagens gays dos curtas-metragens exibidos no Festival Mix Brasil de Cultura da Diversidade, na cidade de São Paulo.
Multiple visibilities and the several possibilities of new experimentations that are often staged on the many stages of social context, regarding sexualities, genders and desires, end up making up aesthetic territories in the realms of arts, such as the cinema, the theater, dancing, etc. These expressions of desires, which oppose to the social stratifications and heteronormative norms, create, as a result, scope for the invention of policies/ethics/aesthetics that will set themselves apart from pragmatism ideals, essentialism norms and power struggles established through discourse related to knowledge/truths/hegemonic pleasures. From this perspective, this study aims to map the means of discourse production, the desires and gender performances and sexual performances associated with the heteronormativity present in Brazilian short films that were exhibited at the Festival Mix Brasil de Cultura da Diversidade – Cinema, Teatro, Música e Literatura (Mix Brasil Culture and Diversity Festival – Cinema, Theater, Music and Literature), which shared a common topic: gay male protagonists. In order to do so, a methodology was used that sought to make visible rhizomatic connections between Psychology, Sexualities, Genders, Desires and Cinema. Thus, powerful dialogues of genealogical method and Foucault's discourse analysis technique were the main inspirations for this dissertation, combined with Queer perspectives and ideas concerning the production of desires conceived by Gilles Deleuze. Samples were taken throughout the years of 2008 to 2013, where one short film was selected for analysis each year, in addition to an interview with the festival organizers. From there, it was observed that the elements present at the discourses and dialogues from the short films enable the deconstruction and denaturalization of desires and (homo) sexualities inside normative and essential standards. However, such short films also showed other elements that may lead us to think about certain mitigation of the national homosexual culture portrayed by the gay characters displayed at the Festival Mix Brasil de Cultura da Diversidade – Cinema, Teatro, Música e Literatura (Mix Brasil Culture and Diversity Festival – Cinema, Theater, Music and Literature), in São Paulo.
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Santos, Suyene Correia. "Saindo do armário : representação do personagem gay nos filmes de animação "Mary e Max" e "Paranorman"." Universidade Federal de Sergipe, 2016. https://ri.ufs.br/handle/riufs/4028.
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Fundação de Apoio a Pesquisa e à Inovação Tecnológica do Estado de Sergipe - FAPITEC/SEThis research emerges from the interest to investigate how modes of representation of gay characters in the animated film occur. To observe the characteristics and specificities of these representations, we have chosen as object the characters Damian and Mitch, respectively, from the animated films "Mary and Max" and "ParaNorman" for being the first openly gay characters in this type of film. Firstly, we have based the theoretical study on Stuart Hall, Michel Foucault and Judith Butler to understand the concepts of identity, representation, sexuality and gender. In our theoretical trajectory, it seemed pertinent to note how the representation of gay characters in Hollywood movies and animated film is shaped since their invention to contemporaneity. Therefore, the research developed by Vito Russo and William Mann has contributed regarding the issue. In the empirical field, we have chosen the Content Analysis, supported by Film Analysis, as methodological approach. We have defined five categories, based on the behavioral and psychological aspects of Damian and Mitch; aiming to answer the following questions: 1) what types of representations have emerged from the mediation conducted by the animated films, specifically the corpus of this research? 2) do those representations reaffirm a stereotype or do they trigger new positive social roles ? 3) what is the level of importance of these characters in the plot and how do they relate to their peers? At the end of the analysis, we have concluded that the representation of the gay characters here studied are stereotyped and stigmatized, grounded, somehow, in the heteronormative hegemonic system. Even though, we recognize the importance of the visibility of gay characters in a cultural product such as the animated film, opening paths for a possible awareness of children and young viewers about sexual diversity.
A presente pesquisa surgiu do interesse de investigar como ocorrem os modos de representação dos personagens gays no cinema de animação. Para verificar as características e especificidades dessas representações, elencamos como objeto de estudo os personagens Damian e Mitch, respectivamente, dos filmes de animação ―Mary e Max‖ e ―ParaNorman‖, por terem sido os primeiros homossexuais assumidos dessa vertente cinematográfica. De início, buscamos sustentação teórica nos estudos de Stuart Hall, Michel Foucault e Judith Butler para compreendermos os conceitos de identidade, representação, sexualidade e gênero. Em nossa trajetória teórica, pareceu-nos pertinente observar como se configuraram as representações de personagens homossexuais no cinema hollywoodiano e no cinema de animação desde sua invenção até a contemporaneidade. Para tanto, contribuíram as pesquisas de Vito Russo e William Mann sobre a temática em questão. No campo do empírico, optamos pela Análise de Conteúdo, amparada pela Análise Fílmica, como abordagem metodológica e partimos de cinco categorias, embasadas nos aspectos comportamentais e psicológicos de Damian e Mitch, para chegarmos às respostas de três questionamentos: 1) quais tipos de representações surgem da mediação realizada pelo cinema de animação, especificamente, do corpus em questão? 2) essas representações corroboram uma estereotipia ou deflagram novos papéis sociais positivos? 3) qual o grau de importância desses personagens na trama e como eles se relacionam com os seus companheiros? Ao final das análises, concluímos que os modelos de representação dos personagens gays estudados são estereotipados e estigmatizados, alicerçados de algum modo no sistema hegemônico heteronormativo, ainda que reconheçamos a importância da visibilidade de personagens homossexuais em um produto cultural como o filme de animação, na abertura de caminhos para uma possível conscientização dos espectadores infanto-juvenis sobre diversidade sexual.
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Hodgson, James Neil. "Male homosexuality in Brazilian cinema of the 1960s and 1970s." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/male-homosexuality-in-brazilian-cinema-of-the-1960s-and-1970s(d1678b48-5d3c-47fa-9a06-b4b0d72ed49b).html.
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The representation of homosexuality in the Brazilian cinema of the 1960s and 1970s is generally dismissed as homophobic on the grounds that it confirms stereotypical and oppressive views of homosexual men. While it is true that many films produced during the era repeat conventional notions of sexual identity, this dismissal arguably overlooks a variety of subtle and subversive representations of homosexuality. To contest the prevailing view, eleven films have been selected from important movements of Brazilian cinema of the period; these include examples of avant-garde and popular filmmaking. An analytical approach informed by queer theory – a critical account of homosexuality and sexual identity – is used to make a series of close readings of narrative form and content. It is suggested that the apparent heterosexism of many of the films is shown to be tacitly or accidentally subverted via the implication that sexual identity is unstable and contested. A number of films are shown to illustrate ways in which oppressive hierarchies might be disabled through a reconfiguring of homosexual identity. It is argued that film form – the films’ self-referential or reflexive aspects, as well as the way in which the films construct spectating positions – is the central factor in subverting conventional views of homosexuality. Such form facilitates multiple readings of the content, therefore enabling a queer interpretation to be posited. Ultimately, it is argued that the value of these films lies in the sometimes contradictory fashion in which they present oppressive notions of homosexuality on-screen while at the same time gesturing towards ways in which such oppression could be challenged.
Books on the topic "Homosexuality in films"
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Masculine interests: Homoerotics in Hollywood films. New York: Columbia University Press, 2002.
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Julianne, Pidduck, ed. Now you see it: Studies in lesbian and gay film. 2nd ed. London: Routledge, 2003.
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Julianne, Pidduck, ed. Now you see it: Studies on lesbian and gay film. 2nd ed. London: Routledge, 2003.
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Jean, Genet. Un chant d'amour. [Place of publication not identified]: Cult Epics, 2007.
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1947-, Gever Martha, Parmar Pratibha, and Greyson John 1960-, eds. Queer looks: Perspectives on lesbian and gay film and video. New York: Routledge, 1993.
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Hadleigh, Boze. The lavender screen: The gay and lesbian films : their stars, makers, characters, and critics. Secaucus, NJ: Carol Pub., 1997.
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Diamantopoulos, Vasilēs. Roloi kai kōdikes ston hellēniko kinēmatographo, 1950-1974: Pharsokōmōdia-homophylophilia. Athēna: Ekdoseis Hodos Panos, 2015.
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Murray, Raymond. Images in the dark: An encyclopedia of gay and lesbian film and video. New York: Plume, 1996.
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Jeff, Satkin, and Atkol Inc, eds. Atkol comprehensive guide to adult male videos. Plainfield, NJ: Atkol, Inc., 1990.
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Greven, David. Gender and sexuality in Star Trek: Allegories of desire in the television series and films. Jefferson, N.C: McFarland & Co., 2009.
Find full textBook chapters on the topic "Homosexuality in films"
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Tholas, Clémentine. "Shoulder Arms (1918), What Price Glory (1926), Wings (1927): How Silent War Films Discuss Homosexuality and Gender Representations During World War One." In New Perspectives on the War Film, 107–30. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-23096-8_6.
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Cheema, Iqra Shagufta. "Queer Love: He is Also Made in Heaven." In ReFocus: The Films of Zoya Akhtar, 126–44. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474476416.003.0008.
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This chapter focuses on Karan Mehra’s portrayal in Made in Heaven (2019) to argue that it departs from the dominant representation of homosexuality in popular Hindi cinema. Homosexuality is not an entirely unfamiliar territory for Hindi cinema, however, barring a few exceptions, these films prototypically either downplay homosexual desire or portray homosexual love subtly, humorously, and connotatively. This results in homosexuality being represented binaristically either in competition or in opposition to heterosexuality. Borrowing from Eve Sedgwick’s terminology, I argue that Karan’s character is neither minoritized, nor universalized – rather he is parallelized with heterosexual portrayals of love. Using Eve Sedgwick and Michel Foucault, I will explore interconnections of desire, sexuality, and security in socioeconomic contexts and discuss homosexuality, sociality, and eroticism in the show. Considering that the 2018 decriminalization of homosexual relationships in India does not end its socio-cultural challenges, I will also discuss how documentation of gay rights’ activists in a popular visual medium like Made in Heaven is an act of narrative (re)formation in itself. Collectively, the series’ depiction of a homosexual man in India forebodes a shift in cinematic discourses of homosexual subjectivities – which sets the precedent for more accepting and tolerant social and historical existence.
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Pugsley, Peter C. "Romance and Sexuality." In Japanese High School Films, 152–81. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474494618.003.0008.
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This chapter illustrates how themes related to adolescent sexuality are deftly handled in Japan’s high school films. It shows an aversion to representations of homosexuality on screen unless tempered through romanticised, less explicit themes such as Boys’ Love (yaoi). This chapter also looks at how contemporary forms of mobile communication such as social media platforms are increasingly depicted as essential in establishing and maintaining relations between characters.
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Fortier, Corinne. "Exile, Gender and Empowerment in Jocelyne Saab’s Films: Gender Café and One Dollar a Day." In ReFocus: The Films of Jocelyne Saab, 188–200. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474480413.003.0013.
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Jocelyne Saab was an exceptionally courageous Lebanese filmmaker who dealt with the three main topics of war, exile and gender. She produced many documentaries but also fictions, such as her most famous film, Dunia, shot in Egypt on the theme of the female body, pleasure and Female Genital Mutilation. This film was censored in Egypt and lead to severe problems with Egyptian islamists. The theme of gender was also the main topic of a series of six short documentaries created in 2013 entitled Café du Genre, which dealt with women’s situations in the Arab world, but also with other very complex themes such as homosexuality. The films portrayed artists and researchers from the Middle East, especially from Tunisia, Egypt, Lebanon and Turkey. In this chapter I will focus on the film about Lebanese choregraph Alexandre Paulikevitch, in which Saab deals, in her very own style and approach, with homosexuality and transidentity in the Arab World. Her latest artistic production from 2016, One Dollar a Day, observed daily life in a Syrian refugee camp in Lebanon. This chapter will discuss in detail these three works of art and their common preoccupation with gendered courage in exile.
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Jovanović, Nebojša. "Queering Masculinity in Yugoslav Socialist Realist Films." In The Cinematic Bodies of Eastern Europe and Russia. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474405140.003.0007.
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The chapter analyzes queer male bodies in the Yugoslav socialist realist cinema, from the late 1940s to the early 1950s, in order to challenge the views that relegate cinema of that period to the handmaiden of the totalitarian ideology. In order to elaborate my point, I explore the corporeal dimension of the queer representations of masculinity in the three films from the first decade of Yugoslav cinema. Život je naš (Life is Ours, Gustav Gavrin, 1948) raises the issue of the rendering the blurry zone between homosexuality and homosociality, Crveni cvet (Red Flower, Gustav Gavrin, 1953) boasts the very first case of gender cross-dressing in Yugoslav cinema, whereas Bakonja fra Brne (Monk Brne’s Pupilii, Fedor Hanžeković, 1954) features the first protagonist who is unmistakably coded as a homosexual. The queering of these films substantially questions the scholarly narratives that posit the notion that the Yugoslav filmmakers were in cahoots with the socialist ideologues in the joint project of degrading the homosexuality as such.
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Duffy, Helena. "Queering the Trenches: Homoerotic Overtones in Frantz." In ReFocus: The Films of François Ozon, 52–71. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474479912.003.0004.
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This chapter provides an extensive analysis of the 2016 drama and one of Ozon’s most recent and successful films. An unusual film within his oeuvre, given its setting outside of France, for the most part, and the use of black-and-white, Frantz, this chapter argues, interrogates hegemonic masculinity – with the help of Kaja Silverman’s conceptualisation of historical trauma and overall work on marginal masculinities – and the notion that it should be crystallised by war. In doing so, the director unsettles heteronormative conventions. Further, this analysis pays particular attention to Édouard Manet’s Le Suicidé to identify connections between homosexuality and the death drive (established by the painting).
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Steele, Jamie. "‘The Scent of a Middle-class Woman’: Desire, Family and the Adolescent Imagination in François Ozon’s Dans la maison." In ReFocus: The Films of François Ozon, 109–24. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474479912.003.0007.
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This chapter explores Ozon’s filmmaking style and approach to institutions at the centre of the French national imaginary, such as the school system. By questioning these structures, Dans la maison/In the House (2012) subverts heteronormative assumptions of Western European society and culture. In particular, Steele investigates desire and how it permeates the depiction of the school and the family institutions. Finally, this chapter confirms that it is reductive to consider Ozon’s films only through the representation of homosexuality, even if the topic is at the heart of many productions.
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Helford, Elyce Rae. "Introduction." In What Price Hollywood?, 1–9. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813179292.003.0001.
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The introduction argues the value of greater attention to the films of Hollywood director George Cukor than has been published to date. A brief Cukor history for the uninitiated leads into the chosen focus of the volume, based on the label of “woman’s director” that he was given during his prolific studio years in the early days of sound film. Exploring this combination of praise (for his work with strong, independent actresses) and derogation (for his homosexuality) leads into an overview of the book project, from its focus on gender and sexuality to its use of diverse feminist and queer studies approaches. The chapter concludes with an overview of each chapter.
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Wegner, Dennis. "Gothic Cinema and Sexology in the Weimar Republic: Towards a Queer Gothic Aesthetic on Screen." In Queer Gothic, 78–96. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474494380.003.0005.
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As a specific focus for early twentieth-century Queer Gothic, the author has honed in on the Weimar Republic in order to explore Gothic cinema and the fruition of sexology – specifically sexology that had positive queer messages through Magnus Hirschfeld’s work. This chapter analyses seminal German Gothic horror films like the 1913 The Student of Prague with the theme of the doppelgänger and the classic vampiric horror film Nosferatu: A Symphony of Horror (1922) for underlying queer readings. Beyond the queer readings of these essential early films, the essay moves to an analysis of a 1919 queer education film featuring Magnus Hirschfeld: Anders als die Andern (Different from the Others). This silent film combines melodrama and tragedy with documentary footage of Hirschfeld lecturing on and advocating for homosexuality as a normal sexual variant. Wegner brings a fresh Gothic perspective to this rare queer film by analysing the machinations of the sinister blackmailer figure who so terrifies one of the gay male characters that he commits suicide. The film, itself, is a miracle that barely escaped Hitler’s raid on the Institut für Sexualwissenschaft in Berlin.
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Hall, E. Dawn. "Growth: Ode; Then, a Year; and Travis." In ReFocus: The Films of Kelly Reichardt. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474411127.003.0004.
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This chapter discusses all three of Reichardt’s experimental short films. Each contain elements of feminist ideology highlighting a mixture of social and cultural tensions pulled from news headlines. All three short films share a haptic sensibility via form and content. Ode based on Bobbie Gentry’s song “Ode to Billie Joe” follows an adolescent boy’s struggle with his sexuality, ending in suicide, set in the rural south. Ode is a 48 minute narrative shot on Super-8 and mixes the tension between homosexuality and extreme religious ideologies. Then, A Year is a collage of images with voice-overs discussing real life news stories: the statutory rape case perpetrated by Mary Kay Letourneau and the murder of a woman by her husband. Travis is based on a National Public Radio interview with a mother struggling to understand the loss of her son during the Iraq war. This chapter connects the influence of documentary style realism in all of these early films to her later narrative features as she explores social and cultural issues.