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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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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
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.
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Ross, Oliver Paul. "Same-sex desire and syncretism : 'homosexualities' in Indian literature and film." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609810.
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Sinwell, Sarah E. S. "Fear of a queer cinema danger, sex, and identification in contemporary American independent film /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3264324.
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Thesis (Ph. D.)--Indiana University, Dept. of Communication and Culture, 2007.Source: Dissertation Abstracts International, Volume: 68-05, Section: A, page: 1705. Adviser: Joan Hawkins. "Title from dissertation homepage (viewed Jan. 14, 2008)."
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Silva, Dayvesson Deleon Bezerra da. ""Eu não vou ter um filho gay": uma análise discursiva do filme orações para Bobby." Universidade Católica de Pernambuco, 2015. http://www.unicap.br/tede//tde_busca/arquivo.php?codArquivo=1233.
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Este trabalho tem como objetivo investigar o funcionamento do discurso sobre a homossexualidade, desde a sua constituição à sua maneira de significar em diferentes condições de produção. Fundamentado sob a perspectiva da Análise do Discurso de Linha Francesa, filiamo-nos às concepções teóricometodológicas de seu articulador, Michel Pêcheux. O corpus ao qual discorremos os nossos gestos interpretativos é o filme estadunidense Prayers for Bobby (Orações para Bobby), o qual versa sobre a homossexualidade na
adolescência no contexto de uma família religiosa tradicional. Apesar de não ser do nosso interesse generalizar os costumes e a estrutura familiar apresentada na trama,o estudo aqui realizado possibilita um outro olhar acerca da homossexualidade, funcionando, também, como um agente esclarecedor, que pode auxiliar na discussão do tema e contribuir para que menos manifestações de preconceito aconteçam na sociedade. Uma vez definido o corpus do nosso trabalho, realizamos alguns recortes que geraram as sequências discursivas posteriormente analisadas a partir do nosso olhar teórico-analítico. Para isso, sustentamo-nos nas concepções teórico-analíticas de Pêcheux (1969, 1975, 1983, 2004, 2010), Courtine (2006, 2009, 2010), Indursky (2011, 2013), Orlandi (1999, 2009, 2012, 2013), Baronas (2011), Mussalim (2011) entre outros. Dessa forma, nosso estudo é dividido em duas
partes: a primeira refere-se ao capítulo teórico, que fornece toda a base para a investigação proposta e, a segunda parte, composta por subitens que se relacionam e proporcionam proceder com nossos gestos analíticos. Em síntese, nossa inquietação, nesta pesquisa, é, sobretudo, acerca das condições de produção dos discursos presentes na trama, perpassando, também, pelas concepções de deslizamento de sentido, formações ideológicas, formações discursivas, memória discursiva, interdiscurso e posição-sujeito, bem como a maneira como cada sujeito significa, sendo atravessado pela ideologia. Concluímos, ainda que provisoriamente, considerando a incompletude do sujeito e do discurso, que o interdiscurso sobre a homossexualidade está cristalizado na sociedade desde muito cedo e que são as Formações Discursivas (FD) dominantes que fazem com que discursos homofóbicos acerca do homossexual se disseminem, gerando, no corpus analisado, o silenciamento do sujeito homossexual.This study aims to investigate the operation of the discourse on homosexuality, since its constitution to its way to mean in different production conditions. Based on the perspective of French Discourse Analysis, came to us theoretical and methodological conceptions of their articulating, Michael Pêcheux. The corpus on which we commented our interpretive gestures is the American movie "Prayers for Bobby", which deals with homosexuality in adolescence in the context of a traditional religious family. Therefore, it's not in our interest to generalize the customs and family structure presented in the plot. Having defined the corpus of our work, some cuts were made that generated the discursive sequences subsequently analyzed from our theoretical and analytical look. For that, we based on the theoretical and analytical conceptions of Pêcheux (1969, 1975, 1983, 2004, 2010), Courtine (2006, 2009, 2010), Indursky (2011, 2013), Orlandi (1999, 2009, 2012, 2013), Baronas (2011), Mussalim (2011) and others. So, our study is divided into two parts: the first refered to the theory chapter, which gives the basis to the investigation proposed and, the second, compounded by subitems that correlate and provide to proceed with our analytical gestures. In short, our concern in this research is primarily about the production conditions of discourse present in the plot, passing also by sliding conceptions of meaning, ideological formations, discursive formations, discursive memory, interdiscourse and subject-position, and how each subject means, being crossed by ideology. We conclude, albeit tentatively, given the incompleteness of the subject and the discourse that the interdiscourse on homosexuality is crystallized in society from an early age and that are the Discursive Formations (FD) dominant that make homophobic discourses about homosexual spread, generating in the analyzed corpus the silencing of the homosexual subject.
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Maysonet, Joel R. "Wine & Beer." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4951/.
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Wine & Beer tells the story of childhood friends Brian and Vic who, after spending some time apart, deal with the tensions of sexual orientation after they attempt to renew their friendship. At the beginning it seems that Vic's sexuality will not be a problem, but after the two friends hang out in a local bar, Brian realizes his hometown is not as tolerant as he is. The couple is faced with family and social concerns, which goes from the argumentative to the violent. As the main characters try to mingle with the conservative town, they soon find themselves looked upon by a small town resistant to change. This 35-minute film explores homophobia and violence in small town USA.
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Vitor, Ana Luísa Ferreira Miranda. "Mrs Dalloway and The hours in the book and film: an intertextual analysis." Master's thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/12551.
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Mestrado em Línguas, Literaturas e Culturas - Estudos InglesesThis dissertation aims to analyse two narratives: Virginia Woolf’s Mrs Dalloway (1924) and Michael Cunningham’s The Hours (1998), along with the film adaptations that resulted from the novels. This study will outline the shift of women’s roles throughout the 20th century and also the development of a liberal sexual identity.
A presente dissertação propõe analisar duas narrativas: Mrs Dalloway de Virginia Woolf (1924) e The Hours (1998) de Michael Cunningham, juntamente com as adaptações cinematográficas de ambos os livros. Este estudo irá incidir na progressão do papel da mulher ao longo do século XX e na compreensão do desenvolvimento da liberdade sexual.
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Carano, Marla E. "Deconstructing Howard: A Rhetorical Analysis of Hegemonic Ideologies in the Motion Picture In and Out." University of Akron / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=akron1239401898.
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Hoffman, Warren D. "Gay-valt : queer performance and identity in twentieth-century Jewish American literature, theater, and film /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2004. http://wwwlib.umi.com/dissertations/fullcit/3135065.
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Hosenseidl, Radek. "Coming out náctiletých queer hrdinů v současném evropském filmu." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-374218.
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This thesis discusses the similarities in coming-out depictions in
contemporary European cinema focusing on teenage and coming-of-age queer
male characters. While based on understanding the coming out as a sociological
phenomenon with strereotypical development, it allows for deviations both in
reality and in film. The thesis further aims to identify common elements in films
with coming-out narratives: repetitive narrative techniques, themes, characters
and motives. Using the analyses of three films, the thesis also examines the
importance of coming-out stories in broader film narrative.
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Jeafer, Staffan. ""Is being the gay best friend still a thing?" -En multimodal kritisk diskursanalys kring representationen av homosexualitet i tv-serien Riverdale (2016-)." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-71925.
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The aim of this study is to analyze how homosexuality is represented in the modern tv-series Riverdale (2016-). Two confirmed homosexual characters from the show, Kevin Keller and Cheryl Blossom have been used to examine this. To showcase how their homosexuality is represented a multimodal discourse analysis was conducted. The method was used to analyze 34 scenes from varying episodes of the currently available three seasons. Queer theory was used as a theoretical point of departure in the study of the characters sexuality. Findings of the analysis shows that Kevin often withers down to stereotype of being a feminine and comedic gay best friend. Cheryl on the other hand is shown being more than just a stereotype but however noticeably lacking in sexual relations with her same-sex partner. Comparisons with previous studies was further used to see how homosexuality is constructed in the show. Through the comparison similar representation could be found from previous gay characters in terms of stereotypes and roles. The study showed however that Cheryl and Kevin’s depiction in the show was noticeably more positive.
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Peach, Ricardo. "Queer cinema as a fifth cinema in South Africa and Australia." University of Technology, Sydney. Faculty of Humanities and Social Sciences, 2005. http://hdl.handle.net/2100/425.
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Australia had the world’s first gay film festival at the Sydney Filmmakers Co-op in June 1976, part of a larger commemoration of the Stonewall Riots in New York City of 1969. In 1994, South Africa became the first country in the world to prohibit discrimination in its constitution on the basis of sexual orientation, whilst allowing for positive discrimination to benefit persons disadvantaged by unfair discrimination. South Africa and Australia, both ex-British colonies, are used in this analysis to explore the way local Queer Cinematic Cultures have negotiated and continue to negotiate dominant social forces in post-colonial settings. It is rare to have analyses of Queer Cinematic Cultures and even rarer to have texts dealing with cultures outside those of Euro-America. This study offers a unique window into the formations of Queer Cinematic Cultures of two nations of the ‘South’. It reveals important new information on how sexual minorities from nations outside the Euro-American sphere have dealt with and continue to deal with longstanding Queer cinematic oppressions. A pro-active relationship between Queer representation in film and social-political action is considered by academics such as Dennis Altman to be essential for significant social and judicial change. The existence of Queer and other independent films in Sydney from the 1960s onward, impacted directly on sexuality, race and gender activism. In South Africa, the first major Queer film festival, The Out In Africa Gay and Lesbian Film Festival in 1994, was instrumental in developing and maintaining a post-Apartheid Queer public sphere which fostered further legal change. Given the significant histories of activism through Queer Cinematic Cultures in both Australia and South Africa, I propose in this thesis the existence of a new genus of cinema, which I term Fifth Cinema. Fifth Cinema includes Feminist Cinema, Queer Cinema and Immigrant/Multicultural Cinema and deals with the oppressions which cultures engage with within their own cultural boundaries. It can be informed by First Cinema (classical, Hollywood), Second Cinema (Art House or dual national cinemas), Third and Fourth Cinema (cinemas dealing with the decolonisation of Third World and Fourth World people), but it develops its unique characteristics by countering internal cultural colonisation. Fifth Cinema functions as a heterognosis, where multi-dimensional representations around sexuality, race and gender are used to assist in broader cultural liberation.
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Pillion, Owen L. "On Objects and Affections: Contemporary Representations of the Gay Man/Straight Woman Dyad in Popular Film and Television." Thesis, Connect to this title online, 2000. http://www.library.unt.edu/theses/open/20003/pillion%5Fowen%5Fl/index.htm.
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Demirkan-Martin, Vulcan Volkan. "Queerable spaces : homosexualities and homophobias in contemporary film : a thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Cultural Studies in the University of Canterbury /." Thesis, University of Canterbury. Cultural Studies, 2009. http://hdl.handle.net/10092/2575.
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This dissertation seeks to read contemporary films as symptoms of the societies they are made in, mainly contemporary Western societies, which I argue to be subtly but intensely homophobic. Films imagine/represent their own subject matter in terms of symbolic, encoded scenes. The decoding for the films I chose occurs through a use of very specific, heavily coded spaces as visualisable shorthand for a complex of homophobic reactions. Filmic texts do not have to have denotative non-heterosexual elements to be termed 'queer'. These texts become queer often in their reception by non-heterosexual audiences. In 'queering' these spaces and films, I extensively make use of tools of social geography, film studies and cultural studies The films I chose are not random choices, but they include certain themes that I believe to reflect the subtle homophobia in our societies. In the first chapter, Geographies of Cruising, I analyze the representation of streets and the leading character's cruising on the streets in Eyes Wide Shut (Stanley Kubrick, 1999). The second chapter, Geographies of Effeminacy, concentrates on the denial of space to non-masculine men exemplified in The Talented Mr. Ripley (1999). In the third chapter, Geographies of Exclusion, the representation of a cellar in Mystic River (Clint Eastwood, 2003) serves to display the links between paedophilia and homosexuality. The fourth and final chapter, Geographies of Abuse and Rape, is an exercise on “out of placeness” and examines the connections made between male/male rape
and homosexuality in I’ll Sleep When I’m Dead (Mike Hodges, 2003). The last chapter is
an extended reading of Brokeback Mountain (Ang Lee, 2005), in which the tension between
closed spaces and wild spaces leads to a discussion of contemporary representation of
homosexuality and a summary of the chapters.
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Lay, John Phillip. "Dangerous, Desperate, and Homosexual: Cinematic Representations of the Male Prostitute as Fallen Angels." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6085/.
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The purpose of this study is to frame the cinematic male prostitute as a "fallen angel" to demonstrate that the evolution of the cinematic hustler has paralleled historicized ideological definitions of male homosexuality. Because cultural understandings of male homosexuality frequently reflect Judeo-Christian ideological significations of sin and corruption, the term "fallen angel" is utilized to describe the hustler as a figure who has also succumbed to sin due to his sexual involvement with other men. This study constructs an epochal analysis of eight films that explores the confluence of the social understanding of homosexuality with the cinematic image of the hustler from the mid 1960s through the present. In doing so, this study shows that the image of the cinematic hustler is intricately tied to the image of the male homosexual in material cultures and eras that produce them. A filmography is included.
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Seligsohn, Yael. "Kärlek på film : En adaptionsanalys av Call Me by Your Name." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-353719.
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En adaptionsanalys av hur verket Call Me by Your Name har överförts från roman till film. Uppsatsen fokuserar på hur kärlek och sexualitet mellan män kan adapteras, här genom en jämförelse mellan romanen Call Me by Your Name från 2007 och dess filmatisering från 2017. Adaptionsteoretiska faktorer, såsom berättarperspektiv och filmskaparens urval av scener, används för att belysa hur skildringen överförs mellan medierna. Undersökningen centreras främst till hur adaptionen behandlar homosexuell kärlek.
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Soles, Carter Michael. "Falling Out of the Closet: Kevin Smith, Queerness, and Independent Film." Thesis, Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2008. http://hdl.handle.net/1794/9021.
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Thesis (Ph. D.)--University of Oregon, 2008.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 415-429). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.
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Laverdière, Gabriel. "Poétiques identitaires : refigurations des identités québécoise et homosexuelle dans le film C.R.A.Z.Y." Master's thesis, Université Laval, 2010. http://hdl.handle.net/20.500.11794/22355.
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L'objet de cette thèse de maîtrise se situe à la rencontre de l'Histoire et de la société québécoises, des relations entre fiction et Histoire, du cinéma québécois, de l'histoire de l'homosexualité, de l'homophobie et de l'éthique postmodeme des rapports de sexe et de genre. Dans un contexte qui relève de l'esthétique, cette recherche s'interroge sur les poétiques identitaires qui se manifestent dans le film québécois C.R.A.Z.Y. L'interrogation première porte sur l'identité québécoise, son histoire (réelle et imaginaire), et la seconde, sur l'identité homosexuelle, le genre (gender) et le processus de sortie du placard. II semble bien que le film C.R.A.Z.Y., eu égard à la période qu'il représente (Révolution tranquille), invoque la mémoire et l'imaginaire d'un passé fortement lié à l'identité actuelle des Québécois. De plus, l'homosexualité en constitue un thème central qui oriente sa structure narrative vers une reformulation identitaire marquée par l'empathie, la pluralité et la valeur humaine. Réfléchir au film en sa matérialité s'avère essentiel dans la mesure où cette manifestation permet d'atteindre au fonctionnement discursif du film et, d'un même élan, d'atteindre à celui de la réception. Comme l'explique Paul Ricoeur, dont l'étude du récit forme la base de la réflexion ici entreprise, le caractère ludique de la fiction réintègre le réel ainsi que les problématiques qui y habitent et qui ont servi de support à la fiction et au narratif.
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Čačko, Jozef Hugo. "Martin Sherman: "Bent" (Teplouš) - komplexní scénografické řešení divadelní hry a filmového díla." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-178055.
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This work deals with the complex by treatment staging all the necessary components of the hand of the performance. Copy and analysis of already existing staging in America, the issue of homosexuality and transferring it into the artistic components of a dramatic situation, overhead construction and the creation of specific images and historical sources relevant to the concrete subject. The last section is devoted to the complete concept of staging the stage design and the costume design perception of music, moods and specific images.
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Islert, Camille. "Renée Vivien, une poétique sous influence ?" Electronic Thesis or Diss., Paris 3, 2021. https://bsnum.sorbonne-nouvelle.fr/files/original/1338/6773/These_en_cours_de_traitement.pdf.
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La valeur génératrice accordée à l’influence des œuvres masculines sur les écrits poétiques des femmes au tournant du XXe siècle a durablement conditionné leur lecture. À ce titre, le cas de Renée Vivien est exemplaire : embarrassée par une œuvre à rebours de la « poésie féminine » de la Belle Époque, la critique l’a volontiers analysée au prisme exclusif des jalons symbolistes, décadents et parnassiens masculins. Contre cette tendance, la thèse propose une autre lecture de la poésie de Renée Vivien. Partant de la quantité de réflexions sur l’imitation qui s’y développent, la présente analyse montre le travail de reprise, de subversion et d’émancipation qui conditionne l’émergence d’une subjectivité poétique lesbienne dans les recueils de la poétesse. Sont notamment analysés dans cette voie le complexe maillage intertextuel, le renouvellement de l’esthétique fin-de-siècle et le renversement des représentations féminines décadentes qui s’y jouent, afin de souligner la réflexivité qui préside au processus de création. La posture parodique caractéristique de la période prend, au regard des enjeux de pouvoirs qui contraignent la prise de parole féminine et lesbienne, un tour singulier. Alors même que le texte s’écrit, il exprime la difficulté à composer avec un déjà-là aliénant à plusieurs titres. La thèse montre comment cette tension existentielle y catalyse la coexistence de deux poétiques - qui sont aussi deux rapports à l’influence - représentées par les figures à la fois semblables et inverses de l’Androgyne et de l’Être double, dont les images se diffusent dans tous les aspects de l’œuvreThe generative value given to the influence of male works on women’s poetic writings at the turn of the 20th century has durably conditioned their reading. A prime example of this is the case of Renée Vivien: embarrassed by a work that is going backward Belle Epoque’s “feminine poetry”, critics have willingly analysed it exclusively through the prism of symbolist, decadent and Parnassian male milestones. Going against this tendency, the thesis proposes another interpretation of Renée Vivien's poetry. Taking as a starting point the abundance of remarks about imitation developed in her writing, the present analysis underlines the rework, subversion and emancipation process which conditions the emergence of a lesbian poetic subjectivity. In particular, the complex intertextual mesh, the renewal of fin-de-siècle aesthetics, and the reversal of decadent feminine representations are analysed in order to emphasize the reflexivity that presides over the whole creative process. With regards to the power stakes which constrain female and lesbian speech, the parodic posture – characteristic of the period – borrows here a singular turn. While being written, the text expresses the difficulty to compose with an alienating material in several ways. The thesis shows how this existential tension catalyzes the coexistence of two poetics - which are also two visions of influence - represented by the figures, both similar and inverse, of the “Androgyne” and the “Double Being”, whose images are diffused throughout the work
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Kellogg, Andrew. "Closeted Channels: Trends of Sexual-Minority Characters on Primetime Television." Ohio University Honors Tutorial College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1399889530.
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Choudhuri, Sucheta Mallick Kopelson Kevin Kumar Priya. "Transgressive territories queer space in Indian fiction and film /." Iowa City : University of Iowa, 2009. http://ir.uiowa.edu/etd/346.
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Silva, Monara Santos. "As questões de gênero sob as lentes do cinema : uma análise a partir do filme "Hoje eu quero voltar sozinho"." Universidade Federal de Sergipe, 2017. https://ri.ufs.br/handle/riufs/4853.
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The present dissertation aimed to problematize and understand the gender relations through the film "Today I want to return alone" (2014), fiction directed by the filmmaker Daniel Ribeiro, as a tool of education under the bias of the filmic analysis. The film tells the story of the blind teenager, Leonardo (Guilherme Lobo), who, through the discoveries and curiosities typical of his age and in search of his own identity, finds himself in love with a new class student. However, being blind and homosexual does not define it. They are only characteristics of a young man who has fears and doubts like any other of his age. As a research method, the film analysis was used, respecting the phases of decomposition and reconstruction. The data were organized from two thematic axes - homosexuality and gender normativity - with the intention of thinking about how the contemporary cinematographic productions are meaning some themes that revolve around the problematic of the body and its manifestations of identity, ethical-moral and political , In the sense of designing social practices of gender. The results of the analyzes indicate that the film's proposal continues to present the creation of new archetypes, at the moment when it exhibits a radical redefinition and redistribution of gender in that it indicates that the male body can feel desire / affection for another body of the same sex Without presenting feminine characteristics, transforming the action of macho gender present in society.A presente dissertação objetivou problematizar e compreender as relações de gênero através do filme “Hoje eu quero voltar sozinho” (2014), ficção dirigida pelo cineasta Daniel Ribeiro, como ferramenta de educação sob o viés da análise fílmica. O filme narra a história do adolescente cego, Leonardo (Guilherme Lobo), que, passando pelas descobertas e curiosidades típicas da sua idade e em busca de sua própria identidade, se descobre apaixonado por um novo aluno de classe. Porém, ser cego e homossexual não o define. São somente características de um jovem que tem medos e dúvidas como qualquer outro da sua idade. Como método de pesquisa, foi utilizada a análise fílmica, respeitando as fases de decomposição e reconstrução. Os dados foram organizados a partir de dois eixos temáticos - homossexualidade e normatividade de gênero - com o intuito de se pensar como as produções cinematográficas contemporâneas estão significando alguns temas que giram em torno da problemática do corpo e suas manifestações identitárias, ético-morais e políticas, no sentido de projetar práticas sociais de gênero. Os resultados das análises apontam que a proposta do filme segue apresentando a criação de novos arquétipos, no momento em que exibe uma radical redefinição e redistribuição de gênero na medida em que sinaliza que o corpo masculino pode sentir desejo/afeto por outro corpo do mesmo sexo sem apresentar características femininas, transformando a ação de gênero machista presente na sociedade.
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Lupo, Melissa Cecelia. "The Political Repercussions of Homosexual Repression of Masculinity and Identity in Martin Sherman's BENT." Cleveland State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=csu1294870010.
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Feenstra, Pietsie. "La Construction de nouvelles figures mythiques dans le cinéma espagnol de l'après-franquisme : (1975-1995)." Paris 3, 2001. http://www.theses.fr/2001PA030111.
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La problématique centrale de ce travail repose sur l'étude de la construction de nouvelles figures mythiques dans le cinéma espagnol de l'après-franquisme (1975-1995). Pendant la période de la transition (1975-1983), plusieurs nouvelles images se révèlent sur le corps féminin, le corps homosexuel, et le corps délinquant. Etudier l'introduction des nouvelles images-pensées de ces corps, permet de cerner un processus de construction. La démarche adoptéé comprend d'abord une définition des nouveaux mythes en tant que nouveaux systèmes de croyances exprimés par de nouvelles images-pensées sur le corps : à un niveau latent, le corps fait référence à un archétype, à un niveau manifeste le corps s'articule et s'actualise par une image-pensée en symbolisant à la fois des corps stéréotypes, prototypes, clichés. .This thesis presents the process of constructing new mythological figures in Spanish cinema after Francoisme (1975-1995). During the transition period (1975-1983) various new images emerged in Spanish film concerning the female body, homosexual body and delinquent body. It is by analysing the appearance of the new thought-images of these bodies that we can understand the process of constructing new myths in Spanish cinema. The discussion begins with the definition of myths as systems of beliefs expressed by new thought-images of the body. Then, it is shown how the body can be referred to different kinds of archetypes (femme fatale, mother figure, male heroism, etc. ). Finally, it is demonstrated how the body expressed these archetypes through its thought-images in a contemporary language symbolising possibly stereotypes, prototypes and clichés. .
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Sutton, Travis. ""According to Their Wills and Pleasures": The Sexual Stereotyping of Mormon Men in American Film and Television." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc9825/.
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This thesis examines the representation of Mormon men in American film and television, with particular regard for sexual identity and the cultural association of Mormonism with sexuality. The history of Mormonism's unique marital practices and doctrinal approaches to gender and sexuality have developed three common stereotypes for Mormon male characters: the purposeful heterosexual, the monstrous polygamist, and the self-destructive homosexual. Depending upon the sexual stereotype in the narrative, the Mormon Church can function as a proponent for nineteenth-century views of sexuality, a symbol for society's repressed sexuality, or a metaphor for the oppressive effects of performing gender and sexuality according to ideological constraints. These ideas are presented in Mormon films such as Saturday's Warrior (1989) as well as mainstream films such as A Mormon Maid (1917) and Advise and Consent (1962).
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Peteet, Julia Clare. "Andalusia." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-07192006-143237/.
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Thesis (M.A.)--Georgia State University, 2006.Title from title screen. Jack Boozer, committee chair; Shirlene Holmes, Marian Meyers, committee members. Electronic text (138 p.) : digital, PDF file. Description based on contents viewed June 19, 2007. Includes bibliographical references (p. 28-30).
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Cabezas, Pino Angélica. "'This is my face' : audio-visual practice as collaborative sense-making among men living with HIV in Chile." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/this-is-my-face-audiovisual-practice-as-collaborative-sensemaking-among-men-living-with-hiv-in-chile(43b02bdb-70d9-466f-ab41-4cd0ce0d86d1).html.
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The research project 'This is my Face: Audio-visual practice as collaborative sense-making among men living with HIV in Chile' is an interdisciplinary project that explores 'collaborative mise en-scène' as a method to further understand the sense-making processes around the biographical disruption caused by HIV. It combines Anthropology and Arts methods as part of the PhD in Anthropology, Media and Performance, a practice-based program that fosters interdisciplinary approaches to the production of original knowledge, based on self-reflexive and critical research practices (The University of Manchester, 2018). Relying on the specific competences of photography and film and the co-creation of an ethnographic context based in hermeneutic reflexivity, the collaborators on the project created and explored representations of critical life events, in order to make sense of the disruption HIV brought to their lives. The collaborators were highly stigmatised individuals living with HIV, which hindered their possibilities for sharing narratives and for reflection, and as such, made it more difficult for them to come to terms with a diagnosis they described as a 'fracture' in their lives. This project analyses the creative process of 'collaborative mise-en-scène' as a way to provide further opportunities for reflexivity and sense making, a method that departs from their everyday face-to-face encounters as means of understanding what they are going through. Representations of life events emerged from our practice, as well as evocations, which provided a means by which to understand their experiences with HIV, and opened up ways to resignify their past experiences and projections of the future. Photography and film offered their specific expressive competences to the project, but also gave the possibility of making visible the collaborators' experiences in order to promote a dialogue with others, moving beyond our creative encounters. Therefore, their evocations became 'statements' of what it means to live with HIV in Chile, and at the same time, by taking part in its creation, it provided access to the particularities of the sense-making process in which those images were embedded. This collaborative creative process opened up ways to highlight the relevance for sense-making in face-to-face encounters, demonstrating that hermeneutic reflexivity as a practice-based form of mutual questioning can promote a critical engagement with life trajectories and with others beyond our practice.
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Tsai, Jia-Zhen, and 蔡家榛. "No Gender? : the study of Taiwan homosexuality films after 90’s." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/faf6kk.
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碩士國立臺北藝術大學
美術史研究所
99
The study focuses on Taiwan’s queer cinema. Different from the duality between the mainstream heterosexual vs. the homosexual alternative, which often operates the fixed and narrow conception of gendering, this research analyzes the subjective and objective experience of individuals and its externality, and rethinks the infiltration between the collective consciousness and the individual one. In other words, the homosexuality, contrast to the mainstream heterosexuality, has become a thematic topic, which then can only be objectified-- the radical “other” that the subjective “I” projects upon. The reason that the researcher employs Taiwan queer cinema as the research issue is to rethink the difference of subject and collective consciousnesses of homosexuality through its differentiated expressions in the mainstream movies. Moreover, the heterosexual model of “phallic mother” discourse tends to govern all sexual expression states. This heterosexual model promotes the homogeneity of sexual expressions and denies the heterogeneity of homosexuals. Gendering is constructed through language system. It all bases on the same linguistic system from the patriarchal hegemony of the “father’s no”. In the patriarchal language system, the cause for problem of the homosexual can be identified as that of the heterosexual. In the study some concepts are based on relativism among each pairs in a dialectical way such as feminism and masculinity, homosexuality and heterosexuality, non-western and western, and the peripheral and the center. The same goes with the analysis of key terms such as sexuality, identity, and gender that are not the absolute signification. The researcher applies a de-gendering method to deconstruct the absolute difference constructed by overtly visible sexual differences physically and psychologically. To recognize the relativism existed in the politics of gendering is to liberate the discriminations and misunderstandings caused by such visible differences.
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Meytuv, Asya. "Genderová témata v současném izraelském filmu." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-312961.
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Author: Asya Meytuv Institution: Charles University in Prague, Faculty of Arts, Nám. Jana Palacha 2, 116 38, Prague 1, Czech Republic Field of Studies: Hebrew Studies, M.A. Study program Title: Gender Themes in Contemporary Israeli Cinema Supervisor: PhDr. Pavel Sládek, Ph.D. Number of pages: 64 Number of attachments: 1 Key words: Israeli cinema, homosexuality, judaism, male character, zionism, Israel Abstract Present thesis analyses the representation of sexual minorities in contemporary Israeli cinematography, concentrating especially on a manner of displaying other than heterosexual character to the audience. The depiction of a male character in early Israeli cinema will be compared to the contemporary production. The phenomenon of male homosexuality and its film representation will be researched in the context of cultural, social and religious aspects of Israeli reality. Original interpretations of several key Israeli films of the last decade pertaining to homosexual issues in specifically Israeli context are included in the present paper.
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Chen, Yi-Jung, and 陳怡君. "Rainbow in Love - The Visual Research of Chinese Homosexuality Film Poster Design." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/2z3k8d.
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碩士臺中技術學院
商業設計系碩士班
99
Follow with the progress of time, start-up social activity, and the awareness of human rights, the wave of homosexuality principle has been rising continually. It’s obvious feeling that more and more Chinese films which had been published talk about homosexual topics of late and they break the normal constitute state of male and female taken for granted in traditional Chinese society. The relationship between movie and popular culture is inseparable. Movie can be one of culture product to record history. The plots condense abundant content on Film posters, and the images and words perform diverse appearance of movies. However, this study realizes the appealing performance for homosexual film poster via displays and style evolution of images in Chinese homosexual film poster. This study takes Chinese homosexual film poster as subjects and Chinese homosexual film poster which took Chinese people first as samples. It analysis integrant elements for poster design and arranges styles of Chinese homosexual film poster through samples. Then we can understand the presence of Chinese homosexual culture, compare the difference and similar war for design and performance on Chinese gay, lesbian film poster, and search context of poster style. This study samples start from Visual Communication Design angle and take advantage of textual analyze, poster image design analyze, assisting study of poster image sign by Semiotics to interpret the sign meanings ,explore the deign meanings from designer and observe the design style performance of homosexual film poster in Chinese areas. The results of this research find out：(a) The visual style structure of Chinese homosexual film poster：The word expression operates the calligraphy, printing fonts and hand-written script. Color frame depends on design thoughts and taking movie plot factor as image performance. Modeling display by hand painting and movie stage photo two ways. The layout can be divided into triangle, inverted triangle, vertical, horizontal, and X-shape. Background composed by color block or form of stage photo scene. (b)The operation of visual performance on Chinese gay, lesbian film poster：In contrast with gay and lesbian film poster, the gay film poster use printing fonts to show rigid and clean sense in word part. Lesbian film poster utilizes calligraphy and hand-written script to indicate tender and brisk quality. In color part, gay film poster take cold color and brown color most and the lesbian film poster use warm color and cold color mainly. In modeling part, gay film poster drive naked body as shape performance and posture of kiss and hug for lesbian to perform image. (c)The messenger convey of Chinese homosexual film poster：It rests on story, designer’s free purpose and design way to manipulate the looking of film poster in layout and background constitution. The samples of Chinese homosexual film poster are interpreted by Saussure’s and Peirce’s theories to analysis and discover that these samples take the main role of movie as portrait icon chiefly. In the same time, image operates these index sign and meaning way as modeling, posture and use symbols to display forms by film poster picture.
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Barron, Alexandra Lynn Moore Lisa. "Postcolonial unions the queer national romance in film and literature /." 2005. http://repositories.lib.utexas.edu/bitstream/handle/2152/1506/barrona50243.pdf.
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Daniel, Margaret R. "Exhibiting difference aesthetic politics and lesbian of color film and video curatorial practice /." Diss., 2001. http://catalog.hathitrust.org/api/volumes/oclc/48937098.html.
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Barron, Alexandra Lynn. "Postcolonial unions: the queer national romance in film and literature." Thesis, 2005. http://hdl.handle.net/2152/1506.
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Diabate, Naminata. "Genital power : female sexuality in West African literature and film." 2011. http://hdl.handle.net/2152/22151.
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This dissertation calls attention to three important contemporary texts from West Africa that resist the tacit cultural taboo around questions of sexuality to imagine empowering images of female sexuality. Using postcolonial feminist approaches, queer theory, and cultural studies, I analyze two novels and a film by T. Obinkaram Echewa, Frieda Ekotto, and film director Jean Pierre Bekolo to retrieve moments in which women characters turn the tables on denigrating views of their sexuality and marshal its power in the service of resistance. I show how in these texts, women bare their nether parts, wield menstrual cloths, enjoy same-sex erotic acts, sit on men's faces, and engage in many other stigmatized practices in a display of what I call "genital powers." These powers are both traditional to the cultures analyzed here and called into new forms by the pressures of decolonization and globalization. Through more complex representations of female sexuality, these texts chart a tradition in which stale binaries of victims and oppressors, the body as an exclusive site of female subjugation or as a site of eternal female power are blurred, allowing a deeper understanding of women's lived experiences and what it means to be a resisting subject in the postcolonial space. By broadly recovering women's powers and subjectivities, centering on sexuality and the body, I also examine the ways in which this mode of female subjectivity has thus far escaped comprehensive theorization. In this way, my project responds to Gayatri Spivak's call to postcolonial intellectuals to unlearn privileged forms of resistance in the recognition of subjectivity, and to develop tools that would allow us to "listen" to the voices of disenfranchised women - those removed from the channels of knowledge production. However, my study cautions that the recognition of genital powers should not be conflated with the romanticized celebration of female bodies and sexuality, since West African women continue to struggle against cultural, political, existential, and physical assaults.text