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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.
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Kelly, B. D. "Homosexuality and Irish psychiatry: medicine, law and the changing face of Ireland." Irish Journal of Psychological Medicine 34, no. 3 (February 1, 2016): 209–15. http://dx.doi.org/10.1017/ipm.2015.72.
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Homosexual acts were illegal in Ireland until 1993. Between 1962 and 1972 there were 455 convictions of men for crimes such as ‘indecency with males’ and ‘gross indecency’. Homosexuality was regarded as a mental illness by the American Psychiatric Association until 1973 and by the World Health Organisation until 1990. ‘Treatment’ provided in various countries, including England and Northern Ireland, included psychotherapies (such as psychoanalysis) and ‘aversion therapies’ involving delivering emetic medication or electric shocks to homosexual men as they viewed images of undressed males; administration of testosterone followed by showing films of nude or semi-nude women; and playing tape recordings outlining the alleged adverse effects of homosexuality and alleged benefits of heterosexuality. In Ireland, homosexuality was regarded as a sexual deviation throughout the 1960s and some psychiatrists were involved in court proceedings and ‘treating’ homosexual persons with psychotherapy. Although there are some suggestions that ‘aversive therapies’ were used for homosexuality in Ireland, there is currently insufficient primary evidence to clarify this further. The history of psychiatry’s attitude to homosexuality is revealing for what it shows of the changeability of psychiatric diagnostic practices over time, and the extent to which certain psychiatric diagnoses are subject to social, political and various other influences. There is a strong need to enhance mental health services for lesbian, gay, bisexual and transgender persons who experience mental health problems.
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Espino, Quennie Ross, Shairylle Shane Bautista, James Noel Bennagen, and Katreena Kaye Tabanao. "RELIGION AND SOCIAL TOLERANCE: GENERATION Z'S VIEWS ON EXPOSURE TO HOMOSEXUALITY IN THE MASS MEDIA." Religio Education 1, no. 1 (December 14, 2021): 15–24. http://dx.doi.org/10.17509/re.v1i1.41432.
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The media exerts a considerable influence on individuals' views, attitudes, and behaviors, particularly on those who lack access to alternative sources of information or are still shaping and forming their identities and perspectives. Attitude towards homosexuality has been different in understanding to type of societies’ cultural and moral development or political circumstance. Arising out of this issue on homosexuality is the idea of natural law and some interpretations of that law as forbidding homosexual sex. Traditionally, homosexuals have been underrepresented and misrepresented in television series and feature films. Homosexual characters have been cast in stereotypically negative roles purely for amusing the audience. In this paper, the researchers were able to analyze how the introduction of content presenting and detailing LGBT individuals and concerns into the mainstream media affects the audiences' attitudes and acceptance of the issue, particularly the Generation Z. The findings indicated that the majority of generation Z residents in Isulan, Sultan Kudarat, aged 15-19, are not influenced by the media in their views on homosexuality, and the interpretation revealed a neutral conclusion in terms of fully tolerating homosexuality in the community.
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Rappaport, Mark. "The Autobiography of PIER PAOLO PASOLINI." Film Quarterly 56, no. 1 (2002): 2–8. http://dx.doi.org/10.1525/fq.2002.56.1.2.
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The Autobiography of Pier Paolo Pasolini re-examines Porcile, one of Pasolini's least well-received films, in light of his own comments about and obvious affection for the work and in relation to his better-known films Teorema and Salòò. The seeming opacity of the film is clarified by reading it as a parable not only about transgressions in closed societies but also, more specifically, about homosexuality, a subject that Pasolini, although he made no bones about his sexual orientation in real life, never fully explored in his films.
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Grace Tandoy Gayoso, Mary, Jun-E. Tan, Suruchi Mazumdar, and Qiongyao Liu. "Homosexuality in Films: Trends of Portrayal in Hollywood and Asia." Media Asia 36, no. 1 (March 31, 2009): 38–46. http://dx.doi.org/10.1080/23776277.2009.12224374.
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Sheidu, Awodi, Ibrahim Jimoh, and Qaribu Yahaya Nasidi. "The Conflict of sexuality in Films: Analysis of Nollywood depiction of Homosexuality." Jurnal Pengajian Media Malaysia 24, no. 1 (June 1, 2022): 75–91. http://dx.doi.org/10.22452/jpmm.vol24no1.5.
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This study addresses a sensitive subject in the context of the socio-cultural, political, legal and religious opposition to homosexual groups in Nigeria. It addresses the social depictions, honest portrayal, and conflicts between heterosexual and homosexual characters based on sexuality in Nollywood films. The study adopted a quantitative content analysis of twenty (20) Nollywood films. The study revealed that homosexual characters are depicted as physiologically, psychologically, socially and spiritually misfits. However, the film producers made an educational effort in exposing practices seen as offensive to societal norms and values. Further findings reveal that homosexual characters are portrayed as morally negative. This demonstrates the truism of the normative hypothesis that media take colouration of society in which they are situated. Finally, the study revealed a high level of perceptual conflict of non-acceptance, stigmatisation, rejection and prohibited reaction by heteronormative characters towards homosexuals based on their sexuality. In this sense, the Nollywood films examined by this study illustrate unwelcome, stereotypic, anti-social and homophobic narratives of homosexual characters that align with Nigerian society's social, civil, cultural, and religious belief systems. It is recommended that well-researched based content on sexual minorities beyond the depiction of the social position on their sexuality to more issues relating to the causal factors and ways of addressing such sexuality should be more focused on since in it has been marked as a crime in Nigeria.
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Devore, Gary. "“I'M QUEER!” “NO! I'M QUEER!” Hollywood Homosexuality and Roman Epic Films." Popular Culture Review 10, no. 1 (February 1999): 127–38. http://dx.doi.org/10.1002/j.2831-865x.1999.tb00150.x.
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Eschrich, Joey. "“Behold the Man!”." Men and Masculinities 14, no. 5 (May 19, 2011): 520–41. http://dx.doi.org/10.1177/1097184x11409361.
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Films depicting the life of Jesus of Nazareth appear simple and easily readable, and this understanding of the films as mere dramatic interpretations of the gospels contributes to a lack of attention to issues of social identity. This study addresses the gap in critical inquiry, locating a profound anxiety about gender at the center of these religiously oriented films. Close readings of five mainstream American films reveal that the texts are structured by binary oppositions with other characters that position Jesus as the epitome of a divine masculinity defined against femininity, homosexuality, and hypermasculinity. These binaries are loaded with a discourse of ethnicity that links Jesus’ counterfactual whiteness with notions of masculinity and spiritual goodness. Though the films construct a relatively stable set of prohibitions on Jesus’ masculinity, they leave his gendered persona murky and undefined, providing little guidance about what ideal, transcendent masculinity can or should be.
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Böhme. "Showing the Unshowable: The Negotiation of Homosexuality through Video Films in Tanzania." Africa Today 61, no. 4 (2015): 63. http://dx.doi.org/10.2979/africatoday.61.4.63.
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Howe, Steven. "Justice in Crisis? On the Popular Jurisprudence of Weimar Film." Pólemos 12, no. 1 (March 26, 2018): 147–65. http://dx.doi.org/10.1515/pol-2018-0009.
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Abstract This article explores how a selection of films produced in Germany during the period of the Weimar Republic represent and critique the criminal justice system. Its starting premise is that the cinema of the era emerges as an important site for the negotiation of the contemporary crisis of law and justice outside the parameters of official legal procedure and politics. Focusing on a set of key legal and ethical dilemmas surrounding particular paragraphs of the German Criminal Code (§ 218 on abortion, § 175 on homosexuality, § 51 on criminal responsibility attribution), the aim is to exemplify how certain representative films contain and disseminate a popular jurisprudence that both reflects and contributes to contemporary legal-political debate.
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Bhardwaj, Pooja. "Moving from Fear to Freedom: A Quest for Love, Respect, Freedom and Acceptance by LGBTQ Community Through Indian Cinema." INTERNATIONAL JOURNAL OF RESEARCH IN SOCIAL SCIENCES & HUMANITIES 13, no. 01 (2023): 353–61. http://dx.doi.org/10.37648/ijrssh.v13i01.029.
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The LGBT community is subject to gender-based violence and other violations of human rights since these laws are invisible to the public. Film has unquestionably been important to the LGBT movement in India. Like many contemporary movements, the queer movement in India seeks to change ingrained social mores, notably the pervasive notion that sexual orientation is merely a phase. Film is viewed as a social cycle in which audience members interpret signs or messages that are broadcast to them using their aural and visual senses. The movies have become much too popular a tourist attraction. Dramatic cinematography and sound film in an exhibition of copying not only shocks us but also holds our attention. Film has the power to captivate audiences, educate viewers, and shift the collective conscience. This huge growth of Bollywood in India and overseas is described by “Jaikumar (2006)” in his book ‘Film Towards the End of Empires’. Bollywood, an Indian film industry powerhouse, mimics and analyzes the public's credit, complexity, genuine elements, and deceptions via a variety of narrative perspectives. As a result, our worldview and general awareness are shaped by Bollywood This Research paper sets out to examine the mainstream treatment of homosexuality in Hindi films, with a focus on how the LGBT community is depicted. And how they fight for their rights for freedom, love, respect and acceptance in the society. The arrival of cinema in India's LGBT community was unquestionably a game-changer. Gay, lesbian, bisexual, and transgender persons are all part of the sexual minority. Among the numerous nations where homosexuality is still frowned upon one is India. In colonial India, the British enacted Section 377 of the Indian Criminal Code, which still exists today and criminalises homosexuality. In this paper, we have shown Hindi cinema’s representation of the LGBTQ community in films like Badhaai Do, Kapoor & Sons, Dear Dad, Ek Ladki ko Dekha to Aisa Laga, Shubh Mangal Zyada Saavdhan and their struggle and acceptance in the society in the 21st century.
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COUVARES, FRANCIS G. "So This Is Censorship: Race, Sex, and Censorship in Movies of the 1920s and 1930s." Journal of American Studies 45, no. 3 (March 24, 2011): 581–97. http://dx.doi.org/10.1017/s0021875811000041.
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AbstractThe curious case of So This Is Africa (Columbia, 1933) shows that both Hollywood's in-house censors and state and local censors took seriously cinematic violations of racial and sexual norms. This spoof of “jungle” films exploited audience interest in a cycle of fictional and nonfictional depictions of “primitive” life. These films claimed partial exemption from taboos against sexual and racial boundary-crossing, and usually showed unclothed “native” women. But So This Is Africa went further. However farcical, its suggestions of adultery, interracial sex, homosexuality, and even bestiality raised an unusually large storm among the censors. Cut by one-third, the film still outraged many and helped precipitate the industry's creation of the Production Code Administration, designed to police the screen more tightly.
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Shomali, Mejdulene B. "Dancing Queens." Journal of Middle East Women's Studies 15, no. 2 (July 1, 2019): 135–56. http://dx.doi.org/10.1215/15525864-7490939.
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AbstractThis article analyzes two popular Golden Era belly-dance films, Sigara wa Kass (A Cigarette and a Glass, 1955) and Habibi al Asmar (My Dark Darling, 1958), through concepts of queer spectatorship, queer time and space, homoerotic triangulation, and queer containment. The analysis centers women, attends to women’s homoeroticism and nonnormative desires, and reads popular film as constituted by and constituting of mainstream conventions of gender and sexuality. It argues that mainstream belly-dance films made considerable space for homoerotic exchanges amid women. Golden Era belly-dance films reveal a rich gender and sexual diversity in Egyptian cultural production, rather than the Orientalist representation of an explicitly homophobic “traditional” Arab culture. In this sense, the article recovers women’s nonnormative and queer legacies within popular Egyptian texts. It does not insinuate homosexuality as inherent but instead locates possible Arab cultural engagements with women’s queerness that have been overlooked.
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Martin-Anatias, Nelly. "Code-Switching or Bahasa Gado-Gado in Discussion of Homosexuality in Indonesian Films." Journal of Homosexuality 67, no. 11 (April 25, 2019): 1542–64. http://dx.doi.org/10.1080/00918369.2019.1601436.
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Han, Qijun. "Diasporic Chinese family drama through a transnational lens: The Wedding Banquet (1993) and Saving Face (2004)." International Journal of Media & Cultural Politics 15, no. 3 (September 1, 2019): 323–43. http://dx.doi.org/10.1386/macp_00004_1.
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Abstract The immigrant Chinese family has increasingly been represented in transnational Chinese cinema(s) over the past three decades. Two representative films, The Wedding Banquet (Lee, 1993) and Saving Face (Wu, 2004), are chosen to shed light on Chinese filmmakers' engagement with the complex process of identity formation for immigrants through the artifice of family conflict. Both movies examine how homosexuality can pose a threat to traditional Chinese family ethics such as filial piety, family continuity and family reputation, and how the seemingly incompatible ideological standpoints can be accommodated in the end. In both cases, on the one hand the depicted denial of homosexuality comes from its association with failed family education and bad ethnic and cultural practice, and its violation of traditional Chinese values. Therefore, sexuality becomes linked to the effect of Americanization and what it means to be Chinese. On the other hand, the 'undesirable' homosexual identity can be accepted or at least tolerated within the family as long as the family lineage is ensured, or the family remains intact. The disaporic subjects show us that submission to one's ethnicity can be modified or unlearned.
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Dean, James Joseph. "Gays and Queers: From the Centering to the Decentering of Homosexuality in American Films." Sexualities 10, no. 3 (July 2007): 363–86. http://dx.doi.org/10.1177/1363460707078337.
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Andrews, Grant. "The construction of split whiteness in the queer films Kanarie (2018) and Moffie (2019)." Tydskrif vir Letterkunde 59, no. 1 (April 8, 2022): 52–61. http://dx.doi.org/10.17159/tl.v59i1.12163.
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After the end of formal apartheid, a number of South African feature films have explored queer white men in conservative social settings, with a particular focus on Afrikaans-speaking gay men. These films have reflected strict heteropatriarchal values within white Afrikaner culture where homosexuality is still often seen as a taboo topic. In this article I discuss two feature films with gay white male protagonists, Kanarie (2018) by Christiaan Olwagen and Moffie (2019) by Oliver Hermanus. These films both feature young men conscripted to fight in the South African Border War in the 1980s, but differ greatly in terms of genre, plot, and style. I argue that, while many scholars discuss whiteness as a general construct that affords privilege, the films demonstrate a split whiteness that is effected through the composition of particular shots and scenes as well as through the films’ processes of production and reception. Whiteness is split into an invisibilised, assumedly critical perspective on the one hand, with transnational links to the Global North, and a hypervisibilised, reified, and criticised racial identity on the other hand, located specifically in the heteropatriarchal Afrikaner male. Queer characters in both films are able to split their identities and dissociate from uncomfortable parts of their whiteness, taking on an assumed criticality that highlights their own oppression and exclusion. The films thus dismiss the protagonists’ complicity in white supremacy, and allow audiences to dissociate from their own complicity in anti-black violence and oppression.
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Melero, Alejandro. "'El paseo de los tristes': Homosexuality as tragedy in the Spanish films of the 1960s." International Journal of Iberian Studies 23, no. 3 (December 1, 2010): 141–57. http://dx.doi.org/10.1386/ijis.23.3.141_1.
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Suwanpakdee, Pison. "Thai Social Context in Apichatpong Weerasethakul ‘s Films." Global Journal of Arts Education 6, no. 2 (October 18, 2016): 46. http://dx.doi.org/10.18844/gjae.v6i2.693.
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This article studies about the Thai social context in Apichatpong Weerasethakul ‘s films. Apichatpong Weerasethakul is a Thai filmmaker who won the highest prize in Cannes Film Festival 2010. He has generated acclaim on the film festival circuit ever since his 2002 debut "Blissfully Yours," which he followed up with "Tropical Malady" and "Syndromes and a Century." Apichatpong Weerasethakul is a Thai independent filmmaker who combine between film and art. Hhis works were shown at the museums and theaters all over the world. The story telling in his films sitting in his home town Khon Kaen, a province in the northeastern part of Thailand. His film criticizes melodramas in TV, radio and Thai social context with non professional actor, narrative style and symbolics about dreams, nature, sexuality (including his own homosexuality). There are many years Apichartpong ‘s films has been well received in many countries that they were released. But in Thailand, some of his works were banned and unreleased such as Syndromes and a Century (2006). Although this film was the first Thai film accepted in competition of the 63rd Venice Film Festival, it is interesting to study his film with the Thai social context of what he conveyed in his works and why the filmmaker who succeed on the world stage, but for his country, he has not been widely recognized .
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Finzel, Anna, and Hans-Georg Wolf. "Cultural conceptualizations of gender and homosexuality in BrE, IndE, and NigE." Metaphor Variation in Englishes around the World 4, no. 1 (September 22, 2017): 110–30. http://dx.doi.org/10.1075/cogls.4.1.06fin.
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Abstract With the spread of English in many parts of the world, numerous local varieties have emerged, shaped by the sociocultural contexts in which they are embedded. Hence, although English is a unifying element, these varieties express different conceptualizations that are deeply rooted in culture. For the most part, these conceptualizations come in the form of conceptual metaphors, which not only influence our perception of the world (Lakoff & Johnson 1980), but also reveal cultural specifics of a particular society. One of the latest approaches in the field of conceptual metaphor research suggests that conceptual metaphors are actually multimodal, i.e., that they are expressed not only in language, but also, e.g., in gestures, facial expressions, sounds or images (Forceville 2009). Films are an ideal source of data for such multimodal metaphors. In the form of a pilot study, this paper applies this novel approach to metaphor to the field of World Englishes. While adding to the range of research that has already used the methodological toolbox of Cognitive Linguistics or its cognate discipline Cultural Linguistics in the investigation of the cultural dimension of varieties of English (e.g., Kövecses 1995; Liu 2002; Malcolm & Rochecouste 2000; Sharifian 2006; Wolf 2001; Wolf & Polzenhagen 2009), we provide a new exploratory angle to that investigation by using cinematic material for the analysis. Specifically, this study focuses on conceptualizations pertaining to the target domains woman and homosexuality. The data we have selected are from Great Britain, India and Nigeria, because these countries have important film industries, and British English, Indian English and Nigerian English constitute culturally distinct varieties.
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O'Rourke, Chris. "Exploiting Ambiguity: Murder! and the Meanings of Cross-Dressing in Interwar British Cinema." Journal of British Cinema and Television 17, no. 3 (July 2020): 289–312. http://dx.doi.org/10.3366/jbctv.2020.0530.
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The crime film Murder! (1930), directed by Alfred Hitchcock for British International Pictures and based on the novel Enter Sir John (1929) by Clemence Dane and Helen Simpson, has long been cited in debates about the treatment of queer sexuality in Hitchcock's films. Central to these debates is the character of Handel Fane and the depiction of his cross-dressed appearances as a theatre and circus performer, which many critics have understood as a coded reference to homosexuality. This article explores such critical interpretations by situating Murder! more firmly in its historical context. In particular, it examines Fane's cross-dressed performances in relation to other cultural representations of men's cross-dressing in interwar Britain. These include examples from other British and American films, stories in the popular press and the publicity surrounding the aerial performer and female impersonator Barbette (Vander Clyde). The article argues that Murder! reflects and exploits a broader fascination with gender ambiguity in British popular culture, and that it anticipates the more insistent vilification of queer men in the decades after the Second World War.
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Oliver-Powell, Melissa. "‘A very unusual self’: Queering the Home in Saturday Night and Sunday Morning and A Taste of Honey." Journal of British Cinema and Television 21, no. 3 (July 2024): 356–77. http://dx.doi.org/10.3366/jbctv.2024.0726.
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This article re-examines the symbolic and aesthetic uses of the home in the British New Wave. Key works of scholarship on the cycle have tended to position the home as a site of stable return for the young protagonists, and as a privileged expression of the reproductive heterosexual maturities that the films are seen ultimately to endorse. This article argues that, far from such reliable bastions of normativity, these domestic spaces are depicted often as visually strange and ideologically unstable. There is, consequently, a distinctly domestic emergence of queer forms and figures to be found in the British New Wave, exceeding the critical attention to the queer in these films, which has hereto focused almost exclusively on the cycle’s lone denoted homosexual character. The article focuses first on Saturday Night and Sunday Morning, in which I argue that signs of gender subversion, homosexuality and transness make the home a primary site of ideological tension for the aspiring patriarch. I then discuss the queer home-making of A Taste of Honey, in which imitation and subversion of ‘traditional’ domesticities present opportunities for resistance, critique and creativity. Ultimately, I argue that the queer lingers within these films as query, occasioning an un-making of the ‘normative’ family and an imaginative re-making of kinship that can be appropriated to a project of queer hope.
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Henniker, Charlie. "Pink Rupees or Gay Icons?" South Asia Research 30, no. 1 (January 25, 2010): 25–41. http://dx.doi.org/10.1177/026272800903000102.
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Discussions of contemporary films and publications now illustrate the problematic terminology of terms like ‘gay’ or ‘camp’ in India, coupled with increasing speculation and reference to homosexuality. This article analyses media representations of Hindi cinema stars and highlights the emergence of some male stars as icons for gay communities within India and in the diaspora. Analysis of the way Bollywood celebrities are represented in India’s press in-dicates that the media has been crucial for this emergence to occur. Focussing on Shah Rukh Khan, Bollywood’s most recognisable and influential star today, the article argues that while a cult of interpretation surrounds Bollywood icons, there is a definite trend of stars confronting and negotiating sexually ambiguous spaces, both on screen and off. Media ‘gossip’ and specific public responses thus serve a variety of commercial as well as socio-cultural and wider political purposes.
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Halperin, Paula. "Between Politics and Desire." Radical History Review 2020, no. 136 (January 1, 2020): 156–67. http://dx.doi.org/10.1215/01636545-7857332.
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Abstract In 1994, Tomás Gutiérrez Alea’s Fresa y Chocolate (1993) swept the awards at Brazil’s Gramado Film Festival. Founded in 1973, the festival was not only a platform for art-house films; Gramado had functioned as a space of creative freedom and resistance to censorship during the worst years of Brazil’s military regime (1964–85). Fresa y Chocolate was highly anticipated; it foregrounded a cluster of sensitive issues such as homosexuality, freedom of speech, and censorship, in a Cuba immersed in the so-called Special Period. This article examines the debates provoked by Fresa in Brazil, which had recently emerged from a long authoritarian regime and was confronting the implementation of neoliberal policies. Through Alea’s film, Brazilian critics and journalists discussed the themes advanced by “the Cuban case,” which struck a chord and ignited debate with the local public.
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Han, Qijun. "The Cinematic Depiction of Conflict Resolution in the Immigrant Chinese Family." International Journal for History, Culture and Modernity 1, no. 2 (March 28, 2013): 129–59. http://dx.doi.org/10.5117/hcm2013.2.han.
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Both emphasising dilemmas that have been confronted by the Chinese- American family, Ang Lee’s The Wedding Banquet (1993) and Alice Wu’s Saving Face (2004) highlight the image of homosexuality as incompatible with traditional Chinese family values. Through detailed narrative analyses of these two films with a focus on the structure of the plot, the key characters, and camera work, this article aims to answer the questions of how traditional Chinese culture continues to play into and conflict with the experiences of modern Chinese American families and how each film presents and resolves the tensions arising from a culture in transition. The article argues that the importance of studying the ways in which the protagonists try to come to terms with incompatible value systems, lies in the capacity of film to reveal the complex negotiation between tradition and modernity, as well as the socio-cultural specificity of the conceptions of modernity.
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Boehm-Schnitker, Nadine. "Adapting Victorian Masculinities: Oliver Parker's Dorian Gray (2009) and Guy Ritchie's Sherlock Holmes (2009)." Victoriographies 5, no. 2 (July 2015): 143–64. http://dx.doi.org/10.3366/vic.2015.0190.
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This article explores the construction of masculinities in Guy Ritchie's Sherlock Holmes (2009) and Oliver Parker's Dorian Gray (2009) in the context of neo-Victorian adaptational strategies. Sherlock Holmes enacts a version of adaptation characterised by a recombination of citational fragments taken from Arthur Conan Doyle's stories. Character provides a unifying force, with Holmes and Watson acting as nodal points. Their latent homoeroticism negotiated via homosocial triangulations and the deferral of pleasure within male social bonds is a powerful means of ensuring consumer retention. In that it constitutes a reproduction of Wilde's novel with a difference, Parker's Dorian Gray lives up to a more traditional version of adaptation. It renders sex between men explicit, but tames Dorian's homosexuality in a psychodrama of childhood abuse and the ‘healing’ influence of the New Woman. Within different adaptational strategies, both films reconstruct late-Victorian masculinity by displaying the male characters' physicality, bodily sensuality, and libidinal energies.
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Stein, Arlene, and Zakia Salime. "Manufacturing Islamophobia: Rightwing Pseudo-Documentaries and the Paranoid Style." Journal of Communication Inquiry 39, no. 4 (February 1, 2015): 378–96. http://dx.doi.org/10.1177/0196859915569385.
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Rightwing organizations in the United States have produced and circulated a number of videos which exaggerate the threat Islamic militants pose to ordinary citizens in the West. These videos owe a great deal to the frames established two decades earlier in religious right campaigns against homosexuality. This article provides a textual analysis of these videos and their production, showing how they manifest “heated exaggeration, suspiciousness, and conspiratorial fantasy,” which Richard Hofstadter characterized as the “paranoid style.” We term these films “pseudo-documentaries” because while they utilize some of the conventions of the documentary genre—claims to “fairness and accuracy,” the use of “experts,” and the incorporation of news footage, testimonies, and “facts”—they are produced by political interest groups and are expressly made to persuade and mobilize through distortion. A comparison of homophobic and Islamophobic videos reveals continuities in rightwing rhetoric, as well as strategic shifts, and indicates the emergence of an increasingly fragmented, pluralized, and privatized political sphere.
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Mammen, Ashika Ann. "Queer Ecologies – Research Paper [May 2021]: The Portrayal of Queerness in Malayalam Films." SMART MOVES JOURNAL IJELLH 9, no. 5 (May 28, 2021): 277–96. http://dx.doi.org/10.24113/ijellh.v9i5.11066.
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The term “Queer” mainly refers to anything which pertains to sexual behavior, identity or personality which does not conform to the conventional social or heterosexual norms, and assumptions. Being queer was and still is seen as an abnormality by multitudes in the society. Although it has been more than two years since the decriminalization of homosexuality in India, there are still plenty of societies which ill-treat, ostracize and look down upon the LGBTQ communities. The state of Kerala, having the highest literacy rate amongst all the other states in India, also happens to be one of the states which still look at queerness as an illness and an abnormality, which has to be dealt with and ‘cured’ through counseling and medication. However, in the midst of all these preconceived notions and social injustices against the LGBTQ communities, ‘Films’ stand as a strong medium of communication and a voice for the LGBTQ communities who are seen as ‘nobodies’ in our society. Films that have a theme of queerness tend to stand out from the cliché themes such as [heterosexual] love, patriarchy, hegemony, crime, and so on. The focus of this research paper is narrowed down to Malayalam films which stand as a solid foundation in order to show the portrayal of queerness and this is incorporated through a research question. Malayalam films aren’t just a source of entertainment, but it is also an emotion and an important part of life to the people of Kerala. The portrayal of queerness in Malayalam films have taken a bold stand, with exemplary performances in films like Randu Penkuttikal (1978), Deshadanakkili Karayarilla (1986), Chanthupottu (2005), Njaan Marykutty (2018), Moothon (2019) and more. This research paper throws light upon the various ways in which Malayalam films depict the theme of queerness, which is further carried out by a strong message with regard to the ill-treatment of the LGBTQ communities, the harsh realities and injustices faced by these sexual minorities who live a life filled with difficulties and hardships as they struggle to get a well paid job in a our stereotypical society, that labels them off as a bunch of “misfits.”
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Jagielski, Sebastian. "The Splendour of Male Relationship: Andrzej Wajda’s “The Promised Land” as a Buddy Film." Kwartalnik Filmowy, Special Issue (December 31, 2013): 37–66. http://dx.doi.org/10.36744/kf.1893.
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One of the dominant themes in the work of Andrzej Wajda is the male homo-social desire. In The Promised Land it takes on a particularly dangerous form. Placing homosexuality (or more broadly – sexual minority) within a context of tolerant and accepting male community does not fit into accepted narrative of the nation, within which gays are always presented as enemies. Although in the film the ideal body of a Pole is contrasted with the anti-body of a homosexual Jew, the relations between them are not shaped according to the national, anti-gay script. Multicultural male homo-community is an alternative to family life and nation-state identity. In Wajda’s film the weaning patriotic ethos clashes with the emerging, future oriented community. The analysis of the male homo-social community is preceded by a presentation and analysis of the American sub-genre of buddy films of the 1970s, to which Wajda directly refers. [originally published in Polish in Kwartalnik Filmowy 2012, no. 77-78, pp. 25-54]
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Krugliak, M., and N. Bohach. "STEREOTYPES OF THE IMAGE OF THE “COLOR” POPULATION IN AMERICAN MOVIES OF THE XX – FIRST QUARTER OF THE XXI CENTURY." National Technical University of Ukraine Journal. Political science. Sociology. Law, no. 1(53) (July 8, 2022): 6–13. http://dx.doi.org/10.20535/2308-5053.2022.1(53).261097.
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The article considers the peculiarities of the stereotypical image of the “color” population in the US film industry of the XX – first quarter of the XXI century as one of the manifestations of racism; the reasons for the transfer of “ethnic stereotypes” in cinema have been identified. The brightest ethnic stereotypes in film and television are presented in the form of so-called “tropes”. The heroes of films of Asian descent were endowed with excessive militancy and the ability to master martial arts (tropes “All Asians know martial arts”, “All Chinese people know kung-fu”); Asian women were portrayed as defenseless as opposed to a strong white man (“Mighty Whitey and Mellow Yellow” trope); to describe the black hero took the trails “Humble Servant” (“Mammy”), “African-American criminal” (“Blaxploitation”), “White Savior”, “Magic Negro”, “Black Best Friend”. Latin American heroes are physically perfect, sexual and romantic (tropes “Latin Lover”, “Spicy Latina”). In 2010–2020, the “color” population in Hollywood movies is portrayed from a new angle. The main “non-white” heroes show absolute equality with whites, and sometimes dominance over them. This is a social film about problems of general scale and their perception in society, in particular homosexuality (“Moonlight”); a movie with a black superhero (“Black Panther”); a thriller about the confrontation of a black guy with a group of white killers (“Get Out”). Films of this genre are focused on the “color” spectator. The catalysts for changes in Hollywood policy were the #OscarsSoWhite (2016) and Black Lives Matter (2020) movements. As a result, there was a review of the composition of film production teams with an approximation to the proportion typical of the national population of the United States – 40 % (2020, the share of “color” actors in films was 39. %, directors – 25.4 %, writers – 25.9 %); implementation of new requirements for the Oscar (“Best Film” nomination, from 2024) with quotas on gender and racial composition of the production team, etc.
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Impey, Nick. "Ideas of sex." Alphaville: Journal of Film and Screen Media, no. 1 (August 17, 2011): 76–88. http://dx.doi.org/10.33178/alpha.1.06.
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Both The Night Porter (Cavani) and The Gestapo’s Last Orgy (Canevari) are often referred to as exploitation. Exploitation cinema’s focus on empty excess is in line with the exaggeration/superficiality of “Camp”. Despite Susan Sontag’s separation of “Camp” elements and homosexual-Camp elements, subsequent
 commentators have argued that Camp is an exclusively gay critique of the artificial nature of the “performance” of hetero-normative gender roles. My article looks at the ways in which lesbian filmmaker Liliana Cavani discusses queer sexuality through a Camp play on gender roles, and how this same discourse is
 “developed” in Canevari’s virtual remake. German/Italian fascist ideology’s preoccupation with the perfected male body and Hitler’s original acceptance of homosexuality contributed to the presence of a lingering (masculine) homoeroticism in Nazi iconography. Holocaust history of Nazi domination enhanced this masculine image. Accordingly, the two filmmakers use a binary of male (masculine) Nazi dominator and female submissive prisoner, which is possessing of a heterosexual quality made fragile by the history of fascist sexual ambiguity. Essentially, my paper argues that the films’ disruption of the traditional images of Nazi aggressor/innocent victim through the protagonists’ depicted collaboration corresponds with the filmmakers’ blurring of masculine/feminine roles in their individual statements about queer sexuality.
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Grimoldi, M., and R. Cacioppo. "A Social Experiment: The Notion of ‘Gender’ in Italy." Klinička psihologija 9, no. 1 (June 13, 2016): 35. http://dx.doi.org/10.21465/2016-kp-op-0018.
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Objective: This paper aims to highlight the danger posed by the “autotropic” thinking (ed Luigi Zoja), always present in the totalitarian ideologies, in hindering, by ideological dissemination, the circulation of prevention of discrimination and gender-based violence, and rights culture. Design and Method: Real social experiment in vivo. Results: News of the spread of the so-called ‘gender ideology’, which is designed to transform sex education in schools through a practice in which children are ‘instigated to homosexuality, invited to masturbation since early infancy, forced to attend pornographic films screenings and to have carnal relations with children of the same sex.’, circulated in Italy since summer 2015. Despite being unfounded and far-fetched, these news have spread against all expectations, generating a social resistance against programs of prevention, diversity education, and gender or sex education. Conclusions: Following the idea formulated by Luigi Zoja in ‘Paranoia’, the epidemic dissemination of a non-existent ‘gender ideology’ is linked to a fourfold characteristic system of the information itself, which will be analyzed in this work. In this light, ‘autotropia’ is the last and final step of paranoid thinking: a mechanism that, once set in motion, contributes to paranoia being able to feed itself.
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Boczkowska, Kornelia. "The Outlaw Machine, the Monstrous Outsider and Motorcycle Fetishists: Challenging Rebellion, Mobility and Masculinity in Kenneth Anger’s "Scorpio Rising" and Steven Spielberg’s "Duel"." Text Matters, no. 9 (December 30, 2019): 81–99. http://dx.doi.org/10.18778/2083-2931.09.05.
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The paper analyzes the ways in which Kenneth Anger’s Scorpio Rising (1963) and Steven Spielberg’s Duel (1971) draw on and challenge selected road movie conventions by adhering to the genre’s traditional reliance on cultural critique revolving around the themes of rebellion, transgression and roguery. In particular, the films seem to confront the classic road movie format through their adoption of nomadic narrative structure and engagement in a mockery of subversion where the focus on social critique is intertwined with a deep sense of alienation and existential loss “laden with psychological confusion and wayward angst” (Laderman 83). Following this trend, Spielberg’s film simultaneously depoliticizes the genre and maintains the tension between rebellion and tradition where the former shifts away from the conflict with conformist society to masculine anxiety, represented by middle class, bourgeois and capitalist values, the protagonist’s loss of innocence in the film’s finale, and the act of roguery itself. Meanwhile, Anger’s poetic take on the outlaw biker culture, burgeoning homosexuality, myth and ritual, and violence and death culture approaches the question of roguery by undermining the image of a dominant hypermasculinity with an ironic commentary on sacrilegious and sadomasochistic practices and initiation rites in the gay community. Moreover, both Duel’s demonization of the truck, seen as “an indictment of machines” or the mechanization of life (Spielberg qtd. in Crawley 26), and Scorpio Rising’s (homo)eroticization of a motorcycle posit elements of social critique, disobedience and nonconformity within a cynical and existential framework, hence merging the road movie’s traditional discourse with auteurism and modernism.
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Duan, Xinyi. "A Feminist Approach to the Hours." Frontiers in Humanities and Social Sciences 3, no. 9 (September 21, 2023): 138–45. http://dx.doi.org/10.54691/fhss.v3i9.5645.
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The author Michael Cunningham was born in Ohio in 1952, graduated from Stanford University, and now lives in New York. It was once praised by the Los Angeles Times as "one of the most outstanding writers of our time." He won the Pulitzer Prize and Faulkner Prize for the publication of his work The Hours. The adapted movie of the same name also won an Oscar. Therefore, many scholars try to explain and interpret The Hours from different angles. The most common of these are the analysis of works and films from the aspects of gender theory, inter-subjectivity theory, bisexual homosexuality theory and the inheritance and development of Mrs. Dalloway. This thesis takes Michael Cunningham's novel The Hours as the research object, and the struggle of the three female images in the novel is mainly through the female subjective consciousness and female survival in the feminist perspective. The Hours of Three Women's struggle, loss, liberation and sublimation. A positive meaning of The Hours is that we can use this to rediscover the period from the beginning of female liberation to the present, and the call to experience feminism has returned from radical to calm and sincere thinking. In The Hours, the protagonist showed the initial fierce resistance and self-liberationism, while maintaining a strong individual independence, while showing strong anxiety and confusion in self-identity, this change is after In the era of feminism, after the individual seeks independence, it is difficult to seek the refraction of the emotion of identification. loneliness.
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Maimunah, Maimunah. "The Negotiation Between Queer Spectatorship and Queer Text on Riri Riza’s Soe Hok Gie." ATAVISME 13, no. 1 (June 30, 2010): 1–13. http://dx.doi.org/10.24257/atavisme.v13i1.140.1-13.
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The emergence of young generation filmmakers who are more confident in depicting gender and sexual issues after the Soeharto era (1998), significantly changes the construction of sexual diversity in 2003-2006 Indonesian films. One of the considerable phenomena is the personal experience and social commitment to support sexual minorities such as gay and lesbian issues. At the same time Indonesian queer communities strive to read the discourse of homosexuality in different way. Physical contact and even intimacy between persons of the same-sex, in both public and private spaces, was common practice in Indonesian cultures, and did not carry any suggestion of homoerotic desire. In this Riri Riza’s film, Soe Hok Gie, however, cinematic technique, narrative and dialogue all contribute to an eroticising of same-sex relationships that is particularly perceptible in cultures that previously regarded physical and emotional interactions between persons of the same-sex as unremarkable. This article based on Benshoff and Griffin’s (2006) theory on queer film.
Abstrak:
Perkembangan film Indonesia setelah tumbangnya rezim Soeharto menunjukkan adanya fenomena di kalangan sutradara muda untuk mengeksplorasi tema tentang gender dan seksualitas. Isu tentang seksual minoritas seperti seksualitas gay dan lesbian adalah salah satu ciri yang cukup menonjol dalam film-film yang diproduksi setelah tahun 2003. Pada saat yang sama, penonton queer (seksualitas nonnormatif) terutama yang berasal dari komunitas queer membaca scene sebuah film terutama yang menampilkan kontak fisik dan keintiman antara orang-orang sesama jenis dengan cara yang baru. Dalam tradisi budaya Indonesia, kontak fisik dan keintiman itu tidak diterjemahkan dalam sebuah hubungan homoerotika . Pembacaan yang berbeda ditunjukkan pembaca dalam film Soe Hok Gie karya Riri Riza. Artikel ini menggunakan teori Queer Film yang dikemukakan oleh Benshoff dan Griffin (2006).
Kata-Kata Kunci: queer spectatorship, homoerotisisme, Soe Hok Gie
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Gurgen Atalay, Deniz, and Nilay Ulusoy. "From nonosh to pasha: The belated debut of queer men in contemporary Turkish popular culture." Film, Fashion & Consumption 11, no. 2 (November 1, 2022): 205–23. http://dx.doi.org/10.1386/ffc_00048_1.
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The historical drama series, The Club (2021–22), narrating the story of a nightclub at the centre of Istanbul nightlife during the 1950s, achieved great success by becoming the eighth most-watched non-English-language series on an international digital streaming platform. The significant public affirmation the series gained rose on the representation of the leading character – the nightclub star. He directly refers to respected queer singer Zeki Müren (1931–96). Müren has been credited as the greatest performer in Turkey and a modern male icon with his artistic excellence in singing and his outstanding stage performances for over 40 years. He designed his own costumes as well as those of his musicians, the décor for his performances and the choreography of the dancers. Müren appeared on his stage in black tuxedos, suits with sparkling accessories or even mini-skirts with platform shoes. He was aware of the taboos on homosexuality and how this might have affected him. Although his sexuality was in question, his sex never was. He was, after all, an exemplary male citizen of the Turkish Republic with his kindness to his audience, his charity works, his artistic status. Many fans, including the media, referred to him as a pasha, a heroic military commander, to express that he was the most influential artist in Turkey. The referential association of the fictional character with Zeki Müren will be interpreted in the article to further discuss the portrayal of the queer performance in the series. For this purpose, the article will introduce the conceptualization of nonosh, a polite yet explicit contempt, and present an embraceable form of queer identity in Turkish society to define the common portraiture of queer in Turkish popular films and TV shows.
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Arsa, Dedi. "Praktik Seksualitas Menyimpang Masyarakat Muslim-Minangkabau: Kajian Neo-Historisisme terhadap Film Titian Serambut Dibelah Tujuh." Jurnal Fuaduna : Jurnal Kajian Keagamaan dan Kemasyarakatan 4, no. 2 (December 31, 2020): 160. http://dx.doi.org/10.30983/fuaduna.v4i2.3406.
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<p><em>This article discusses the practices of deviant sexuality in the Muslim-Minangkabau community depicted in early Indonesian films in relation to the socio-cultural context in the film as well as the socio-cultural context when the film was produced. The film in question is </em>Titian Serambut Dibelah Tujuh<em> by Asrul Sani. In this film some of the deviant practices of sexuality depicted are homosexuality, lesbianity, and hypersexuality (through the practice of rape). Using a neo-historicalism approach, which looks at the relation of literary texts (films) to their historical space and time, the narratives in this film relate to the context of their presence in the midst of Indonesian social reality and the setting of the film itself: this film exists as a critique of moral decadence The Old Order, which celebrates sexuality in public spaces and on the other hand, also describes the background society (which is also where the writer of the scenario came from) where the practices of sexuality diverged have their own traces in the history of this society.</em><em></em></p><p>Artikel ini membahas praktik-praktik seksualitas menyimpang di tengah masyarakat Muslim-Minangkabau yang digambarkan dalam film Indonesia awal dalam relasinya dengan konteks sosial-budaya dalam film maupun konteks sosial-budaya ketika film ini diproduksi. Film yang dimaksud adalah <em>Titian Serambut Dibelah Tujuh</em> karya Asrul Sani. Dalam film ini beberapa praktik seksualitas menyimpang yang digambar adalah homoseksualitas, lesbianitas, dan hiperseksualitas (lewat praktik perkosaan). Dengan menggunakan pendekatan neo-historisisme, yang melihat relasi teks sastra (film) dengan ruang dan waktu historisnya, narasi-narasi dalam film ini terkait dengan konteks kehadirannya di tengah realitas sosial Indonesia dan latar filmnya itu sendiri: <em>f</em><em>ilm ini hadir sebagai kritik atas dekadensi moral Orde Lama yang merayakan b</em><em>i</em><em>nalitas-seksualitas di ruang publik</em><em> dan d</em><em>i sisi lain,</em><em> </em>juga menggambarkan masyarakat latar (yang juga dari mana si penulis skenarionya berasal) di mana praktik-praktik seksualitas menyimpang punya jejaknya tersendiri dalam sejarah puak ini.</p>
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Arsa, Dedi. "Praktik Seksualitas Menyimpang Masyarakat Muslim-Minangkabau: Kajian Neo-Historisisme terhadap Film Titian Serambut Dibelah Tujuh." Jurnal Fuaduna : Jurnal Kajian Keagamaan dan Kemasyarakatan 4, no. 2 (December 31, 2020): 160. http://dx.doi.org/10.30983/fuaduna.v4i2.3406.
Full textAbstract:
<p><em>This article discusses the practices of deviant sexuality in the Muslim-Minangkabau community depicted in early Indonesian films in relation to the socio-cultural context in the film as well as the socio-cultural context when the film was produced. The film in question is </em>Titian Serambut Dibelah Tujuh<em> by Asrul Sani. In this film some of the deviant practices of sexuality depicted are homosexuality, lesbianity, and hypersexuality (through the practice of rape). Using a neo-historicalism approach, which looks at the relation of literary texts (films) to their historical space and time, the narratives in this film relate to the context of their presence in the midst of Indonesian social reality and the setting of the film itself: this film exists as a critique of moral decadence The Old Order, which celebrates sexuality in public spaces and on the other hand, also describes the background society (which is also where the writer of the scenario came from) where the practices of sexuality diverged have their own traces in the history of this society.</em><em></em></p><p>Artikel ini membahas praktik-praktik seksualitas menyimpang di tengah masyarakat Muslim-Minangkabau yang digambarkan dalam film Indonesia awal dalam relasinya dengan konteks sosial-budaya dalam film maupun konteks sosial-budaya ketika film ini diproduksi. Film yang dimaksud adalah <em>Titian Serambut Dibelah Tujuh</em> karya Asrul Sani. Dalam film ini beberapa praktik seksualitas menyimpang yang digambar adalah homoseksualitas, lesbianitas, dan hiperseksualitas (lewat praktik perkosaan). Dengan menggunakan pendekatan neo-historisisme, yang melihat relasi teks sastra (film) dengan ruang dan waktu historisnya, narasi-narasi dalam film ini terkait dengan konteks kehadirannya di tengah realitas sosial Indonesia dan latar filmnya itu sendiri: <em>f</em><em>ilm ini hadir sebagai kritik atas dekadensi moral Orde Lama yang merayakan b</em><em>i</em><em>nalitas-seksualitas di ruang publik</em><em> dan d</em><em>i sisi lain,</em><em> </em>juga menggambarkan masyarakat latar (yang juga dari mana si penulis skenarionya berasal) di mana praktik-praktik seksualitas menyimpang punya jejaknya tersendiri dalam sejarah puak ini.</p>
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Petersen, Kendall. "THE MAKE-UP AND PERFORMANCES OF TURKISH-GERMAN HOMOSEXUALITY: A READING OF KUTLUÄž ATAMAN’S LOLA UND BILIDIKID (1999)." Gender Questions 1, no. 1 (September 20, 2016): 33–44. http://dx.doi.org/10.25159/2412-8457/1543.
Full textAbstract:
In 1999, Lola und Bilidikid emerged as the creative product of Turkish-born director, Kutluğ Ataman, and provided a rare example and highly nuanced exploration of homosexuality in a Turkish-German context. This article explores the film’s representation of a group of characters marginalised not only on the level of their cultural background, but also on the level of sexual identity. Through a close analysis of the film, various demonstrations of and responses to homosexuality as a sub-culture within a patriarchal, migrant (and therefore already marginalised) group will also be explored, including particularly the notions of drag and performance. These responses will be analysed from the perspective of the protagonists, who are themselves not only both gay and of Turkish origin, but also demonstrate almost fundamentally conflicting approaches to homosexuality. This is particularly evident in the varying degrees to which they either accept or reject their own homosexuality. The article will also explore the consequences of the acceptance and rejection of their respective homosexualities and the extent to which this informs the construction and/or perpetuation of a particular performance of masculinity.
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Guillard, Gilbert. "Une Bavière revisitée : le « nouveau » Heimatfilm." Chroniques allemandes 13, no. 1 (2009): 503–14. http://dx.doi.org/10.3406/chral.2009.954.
Full textAbstract:
Zurück nach Bayern: der „neue“ Heimatfilm. Im Zuge des „jungen deutschen Films“ der sechziger Jahre drehen Regisseure sogenannte neue Heimatfilme, die sowohl eine politisch-soziale Kritik wie eine ästhetische Revolution bezwecken. „Neu“ bedeutet jedoch nicht Erneuerung, sondern Demontage (Anti-Heimatfilm). Es geht darum, anders zu filmen und den reaktionären Diskurs des Heimatfilms und deren Hersteller bloßzustellen. Jagdszenen in Niederbayern von Peter Fleischmann (1968) ist nicht nur eine Darstellung, im Sinne der Karikatur, der Sitten und sozialen, politischen und religiösen Ideologie des ländlichen Bayerns, sondern auch eine allgemeine Infragestellung der modernen Gesellschaft. Die Themen (Gastarbeiter, Stellung der Frau, Homosexualität) werden so behandelt, daß die auf Gewalt begründete Art und Weise, wie eine doppelbödige Gemeinschaft funktioniert, dargelegt wird, auch um zu zeigen, daß der Begriff Heimat eigentlich keine höhere Werte beinhaltet.
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Huneke, Samuel Clowes. "The Duplicity of Tolerance: Lesbian Experiences in Nazi Berlin." Journal of Contemporary History 54, no. 1 (April 3, 2017): 30–59. http://dx.doi.org/10.1177/0022009417690596.
Full textAbstract:
In 2008, a monument to the gay victims of the Holocaust was erected that paid tribute only to its male victims, reigniting a long-running debate regarding the fate of lesbians in the Third Reich. Using four previously unanalyzed police investigation files at the Landesarchiv Berlin, this article opens a window into the lives of lesbians living in Nazi Berlin. The four case studies below highlight the capricious nature of Nazi rule and the surprising ways in which discourses of homosexuality appeared in the everyday lives of prostitutes and factory workers. At the same time, they demonstrate a surprisingly robust and open world in which lesbianism was not only not persecuted, but even tolerated in limited ways. While these materials suggest a chasm that separated the experiences of gay men and lesbians under the Nazi regime, they also highlight not only the limits of tolerance but the ways in which it can reinforce persecution itself.