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Journal articles on the topic 'Homosexuality in films'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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1

Gauram, Bedse Sunita, and M. D. Dugaje. "Representation of LGBTQIA in Bollywood Films." Integrated Journal for Research in Arts and Humanities 4, no. 2 (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 attit
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Chareyron, Romain. "Off the Beaten Path." Screen Bodies 3, no. 2 (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
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Rudy, Rudy. "THE DEPICTION OF HOMOSEXUALITY IN AMERICAN MOVIES." Jurnal Humaniora 28, no. 1 (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
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Nelson, Jeffrey. "Homosexuality in Hollywood films: A contemporary paradox." Critical Studies in Mass Communication 2, no. 1 (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 (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
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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 (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 personaj
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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
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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 (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 con
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Juvonen, Tuula. "Transnational Connections." lambda nordica 29, no. 1 (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,
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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, se
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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 (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; admi
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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 (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 telev
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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 (2009): 38–46. http://dx.doi.org/10.1080/23776277.2009.12224374.

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15

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 (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 see
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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 (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 (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, homosexuali
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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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19

Howe, Steven. "Justice in Crisis? On the Popular Jurisprudence of Weimar Film." Pólemos 12, no. 1 (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 ex
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20

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. Drama
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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 (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 bestia
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Shomali, Mejdulene B. "Dancing Queens." Journal of Middle East Women's Studies 15, no. 2 (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
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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 (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 (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 c
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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 (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 (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
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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 (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 (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 pr
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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 (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 rese
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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 (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
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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 (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
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Henniker, Charlie. "Pink Rupees or Gay Icons?" South Asia Research 30, no. 1 (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
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Halperin, Paula. "Between Politics and Desire." Radical History Review 2020, no. 136 (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, w
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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 (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 te
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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 (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 th
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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 (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 t
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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 (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 st
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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 alt
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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 p
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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 rol
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Grimoldi, M., and R. Cacioppo. "A Social Experiment: The Notion of ‘Gender’ in Italy." Klinička psihologija 9, no. 1 (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 pornogr
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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 c
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Duan, Xinyi. "A Feminist Approach to the Hours." Frontiers in Humanities and Social Sciences 3, no. 9 (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
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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 (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 pract
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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 (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 ou
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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 (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 th
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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 (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 th
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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 (2016): 33–44. http://dx.doi.org/10.25159/2412-8457/1543.

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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, inc
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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.

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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 l
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Huneke, Samuel Clowes. "The Duplicity of Tolerance: Lesbian Experiences in Nazi Berlin." Journal of Contemporary History 54, no. 1 (2017): 30–59. http://dx.doi.org/10.1177/0022009417690596.

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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
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