Academic literature on the topic 'Homosexuality in films'

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.

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.

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.

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.

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.

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.

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.

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.

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.