Relevant bibliographies by topics / Lesbians in films

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Lesbians in films'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Lesbians in films"

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Ogheneruro Okpadah, Stephen. "Queering the Nigerian Cinema and Politics of Gay Culture." Legon Journal of the Humanities 31, no. 2 (2021): 95–110. http://dx.doi.org/10.4314/ljh.v31i2.4.

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The advocacy for gayism and lesbianism in Nigeria is informed by transnational cultural processes, transculturalism, interculturalism, multiculturalism and globalisation. Although critical dimensions on Lesbian, Gay, Bisexual and Transgender (LGBT) are becoming recurrent subjects in Nigerian scholarship, scholarly works on LGBT, sexual identity and Nigerian cinema remain scarce. Perhaps, this is because of indigenous Nigerian cultural processes. While Chimamanda Adichie, a Nigerian novelist cum socio-political activist, campaigns against marginalisation and subjugation of gays and lesbians and for their integration into the Nigerian cultural system, numerous African socio-cultural and political activists hold a view that is dialectical to Adichie’s. The position of the members of the anti-gay group was further strengthened with the institution of stringent laws against gay practice in Nigeria by the President Goodluck Jonathan led government in 2014. In recent times, the gay, bisexual, transgender and lesbian cultures have been a source of raw material for filmmakers. Some of the thematic preoccupations of films have bordered on questions such as: what does it mean to be gay? Why are gays marginalised? Are gays socially constructed? What is the future of the advocacy for gay and lesbian liberation in Nigeria? Although most Nigerian film narratives are destructive critiques of the gay culture, the purpose of this research is not to cast aspersion on the moral dimension of LGBT. Rather, I argue that films on LGBT create spaces and maps for a critical exploration of the gay question. While the paper investigates the politics of gay culture in Nigerian cinema, I also posit that gays and lesbians are socio-culturally rather than biologically constructed. This research adopts literary and content analysis methods to engage Moses Ebere’s Men in Love with reference to other home videos on the gay and lesbian motifs.
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Kessler, Kelly. "Bound Together." Film Quarterly 56, no. 4 (2003): 13–22. http://dx.doi.org/10.1525/fq.2003.56.4.13.

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While many recent male-directed lesbian-couplefocused films contain murdering or violent lesbians, the dyke mob thriller Bound stands apart. This study analyzes the film in terms of three issues—the presentation of the female body and lesbian sex, stereotyping, and a caricature of the gangster genre—and shows how Bound avoids selling out to or alienating the mass audience while successfully providing a needed space for polyvalent identification and pleasure.
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Allen, Stephanie Andrea. "“I Am a Lesbian”: Black Queer Subjectivities in The Watermelon Woman and Pariah." Women Gender and Families of Color 10, no. 2 (2022): 118–40. http://dx.doi.org/10.5406/23260947.10.2.02.

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Abstract In 2011, cultural critic Nelson George asserted, “Pariah is important, not simply as a promising directorial debut, but also as the most visible example of the mini-movement of young black filmmakers telling stories that complicate assumptions about what ‘black film’ can be by embracing thorny issues of identity, alienation and sexuality.” However, filmgoers, myself included, were offended at the New York Times comparison of Pariah to Lee Daniel's Precious (2008), another “Black” movie, but with such radically different content that one wonders if the reviewers actually watched Dee Rees's Black lesbian coming-out story. Much like Cheryl Dunye's The Watermelon Woman, another film written, directed, and produced by a Black lesbian, Pariah was marketed as a “Black” film, effectively ignoring its queerness. And while both movies received favorable reviews, neither film did very well at the box office, suggesting that Black moviegoers had little interest in Black lesbian film. Hence, this essay will address the ways in which two Black lesbian filmmakers, Cheryl Dunye and Dee Rees, wrote, produced, and directed films that sought to counter common stereotypes regarding queer Black subjectivities, specifically those of Black lesbians, and how their struggles to produce, market, and distribute these films are indicative of the challenges that Black lesbians in the United States still face due to racism, sexism, and homophobia. To be sure, Black lesbian filmmakers are “contest[ing] the dominant gendered and sexual definitions of racial difference by working on black sexuality” (Hall 1993, 274), in this case, Black queer subjectivities in the form of Black lesbians. Stuart Hall also reminds us that the struggle over cultural hegemony “is never about pure victory or pure domination . . . it is always about shifting the balance of power in the relations of culture, it is always about changing the dispositions and the configurations of cultural power, not getting out of it” (107). Thus, late-twentieth- and early-twenty-first-century Black lesbian filmmakers were engaged in challenging contemporary discourses that ignore the particularities of race and gender when it comes to representing LGBT experiences in film, thus hoping to exert agency over their representations in popular culture. I assert that both Pariah and The Watermelon Woman work to expand the archive of Black lesbian filmic representations by focusing on the ways in which Black lesbian identities are validated, embraced, and complicated by Black women in the United States. At the same time, these films reveal the unique challenges that Black lesbian filmmakers face from the film industry, as well as from their own communities.
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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 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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Pertiwi, Gema, and Yusril Yusril. "PENCIPTAAN FILM FIKSI “SIRIAH JADI KARAKOK” DENGAN FENOMENA LESBIAN DI SUMATERA BARAT." Gorga : Jurnal Seni Rupa 8, no. 1 (2019): 192. http://dx.doi.org/10.24114/gr.v8i1.13140.

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AbstrakPenciptaan karya seni Film ini mengisahkan tentang fenomena lesbian ini sangat bertentangan dengan norma-norma yang berlaku di Minangkabau. Hal ini menjadi menarik karena di daerah yang masih memegang teguh ajaran agama Islam, walaupun keberadaan kaum lesbian itu sendiri masih sulit atau jarang ditemui, namun perilaku menyimpang tersebut ada dan bisa untuk ditelusuri keberadaannya. Kaum lesbian sudah tidak segan menunjukan keberadaan mereka. Tekstur karya seni merupakan deskripsi keseluruhan bentuk isi sebuah karya film fiksi ini. Film fiksi merupakan film yang memandang plot cerita didalamnya menggunakan unsur pembuat film. Film fiksi secara umum dapat menjelaskan tujuan dan maksud dari konten ceritanya kepada penonton. Kata Kunci: lesbian, fenomena, film fiksi.AbstractThe creation of this film art work tells the story of the lesbian phenomenon which is very contrary to the norms prevailing in Minangkabau. This is interesting because in regions that still hold fast to the teachings of Islam, even though the existence of lesbians themselves is still difficult or rare to find, the deviant behavior exists and can be traced. Lesbians are not reluctant to show their existence. The texture of the artwork is a description of the entire shape of the contents of a fictional film. Fiction film is a film that looks at the plot of the story using filmmakers. Fiction films in general can explain the purpose and purpose of the story content to the audience. Keywords: lesbian, phenomenon, fiction film.
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Cavalcante, Alcilene. "A personagem lésbica no cinema brasileiro realizado por mulheres durante a ditadura civil-militar (1964-1985)." Mistral | Journal of Latin American Women's Intellectual & Cultural History 2, no. 1 (2022): 50–62. http://dx.doi.org/10.21827/mistral.1.39903.

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Neste artigo, abordamos os termos da representação lésbica em dois longas-metragens, de ficção, realizados por mulheres no Brasil, no período de ditadura civil-militar (1964-1985). Analisamos Marcados para viver (1976), de Maria do Rosário Nascimento e Silva, e Amor maldito (1984), de Adélia Sampaio. Partimos de referenciais feministas do cinema, que reconhecem o jogo de (in)visibilidade lésbica em cinematografias, desde filmes clássicos de Hollywood, sustentando que, apesar de códigos de censura e do padrão de heterossexualidade compulsória ou de heteronormatividade, as lésbicas sempre apareceram neles, mesmo que de maneira fantasmagórica. ====== In this article, I address the terms of lesbian representation in two fictional feature films directed by women in Brazil during the period of civil-military dictatorship (1964-1985), namely Marcados para viver (1976), by Maria do Rosário Nascimento e Silva, and Amor maldito (1984), by Adélia Sampaio. Beginning with feminist references in cinema, which have recognized the play of lesbian (in)visibility in cinematographies since the classic age of Hollywood, I maintain that, despite censorship codes and the standard of compulsory heterosexuality or heteronormativity, lesbians have always been present, even if in a ghostly manner.
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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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Coon, David R. "God vs. gay: Queer counter-storytelling and Christianity in films about conversion therapy." Queer Studies in Media & Popular Culture 7, no. 3 (2022): 177–92. http://dx.doi.org/10.1386/qsmpc_00078_1.

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This article compares dramatizations of ex-gay conversion therapy in the films But I’m a Cheerleader (1999), Save Me (2007), The Miseducation of Cameron Post (2018) and Boy Erased (2018) to demonstrate how the films refute the harmful myths circulated by ex-gay ministries and thereby combat the anti-gay agendas that such ministries support. The films all emphasize the liberation of their queer protagonists, but they differ in their treatment of Christian antagonists, with depictions ranging from mocking to hostile to sympathetic. I argue that while all four films offer empowering representations of lesbians and gay men surviving conversion therapy, only Save Me employs a rhetorical strategy that seeks to reconcile the perceived conflict between queerness and Christianity.
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O’Donnell, Brenden. "Surveilling lesbians: The Birds, Hitchcock’s narrative cinema and the criminalization of sexuality." Queer Studies in Media & Popular Culture 5, no. 1 (2020): 49–68. http://dx.doi.org/10.1386/qsmpc_00024_1.

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This article analyses The Birds in order to distinguish a form of heteropatriarchy characterized by the development of surveillance practices. In the earlier films Vertigo and Rear Window, female characters were represented as intensely desirable, yet also disturbingly unattainable. This article is dissatisfied with the explanation that Hitchcock’s unattainable woman is an example of the 1960s developing lesbian subjectivity. Instead, I use The Birds to prove that Hitchcock’s representation of women has in mind the projects of arranging women for interrogation, eavesdropping on their conversations and intruding upon their intimate moments. Hitchcock’s voyeurism, construable as ambivalent in earlier films, manifests in The Birds as a surveillance practice that assumes access over the private lives of women: a heteropatriarchal strategy that keeps women’s bodies, if not accessible for men, punishable by them. By keeping tabs on the ways that women grow intimate with one another instead of with men, Hitchcock’s cinema moves from narrative to surveillance, blurring the distinction between cinematography and security footage.
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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 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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Dissertations / Theses on the topic "Lesbians in films"

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Hey, Jessica L. ""Coming out" by numbers." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1189022132.

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Goulden, Jan. "The western, the buddy movie and noir : lesbian re-readings of the American action movie." n.p, 1999. http://library7.open.ac.uk/abstracts/page.php?thesisid=13.

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McKenna, Susan E. "Seeing Lesbian Queerly: Visibility, Community, and Audience in 1980s Northampton, Massachusetts." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/open_access_dissertations/102/.

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Collins, Jacqueline A. "From lavender menace to lesbian heroic : representations of lesbian identities in contemporary Spanish fiction and film." Thesis, University of Sunderland, 2011. http://sure.sunderland.ac.uk/3315/.

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Moore, Terry L. "Twilight and Shadows: The Lesbian Presence in Film Noir." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1393075233.

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Graham, Paula. "Imitation of life : gender, race, and sexuality in popular cinema." Thesis, University of Sussex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311459.

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Coles, Fen. "Frightful pleasures : representations of lesbian monsters in American horror film." Thesis, University of Warwick, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.412851.

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McWilliam, Kelly. "Girl Meets Girl: Lesbian Romantic Comedies." Thesis, University of Queensland, 2006. https://eprints.qut.edu.au/12503/1/12503.pdf.

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Six decades after the romantic comedy emerged as a Hollywood genre in 1934, the first romantic comedies with a central lesbian couple, including Marita Giovanni’s Bar Girls and Rose Troche’s Go Fish, were released in 1994. This study argues that Bar Girls and Go Fish represent the first in a group of films whose numbers and similarities enable their consideration as a romantic comedy sub-genre, namely the ‘lesbian romantic comedy’. This study identifies and analyses this sub-genre. It contends that these films have emerged as the predominant (and perhaps only) form of mainstream lesbian feature film in the United States of America in the mid to late 1990s and early 2000s. Yet, despite their relative prominence for more than a decade, they remain vastly under-examined areas in scholarship on both film genre and lesbian culture. This project aims to contribute to these areas by producing the first full-length survey of the sub-genre and the first study of any length to focus exclusively on it. This study concentrates on ten lesbian romantic comedies: Bar Girls (1994), Go Fish (1994), Maria Maggenti’s The Incredibly True Adventure of 2 Girls in Love (1995), Kelli Herd’s It’s in the Water (1996), Julia Dyer’s Late Bloomers (1996), Emma-Kate Croghan’s Love and Other Catastrophes (1996), Heidi Arnesen’s Some Prefer Cake (1997), Anne Wheeler’s Better than Chocolate (1999), Jamie Babbit’s But I’m a Cheerleader (1999), and Helen Lesnick’s A Family Affair (2001). While this project employs textual analysis as its primary methodology to examine these films, these analyses take place more broadly within a public sphere framework. Consistent with a wider shift in analyses of lesbian and gay cultural products, this framework allows a consideration of the larger public stakes of lesbian romantic comedies and, in particular, their introduction of lesbian content into a heterocentric genre. Specifically, this project argues that the introduction of lesbian content—or the replacement of ‘boy meets girl’ with ‘girl meets girl’—destabilises the genre in significant ways, but that the genre itself equally restricts the representation of lesbianism possible within it. Ultimately, this project proposes a reading of lesbian romantic comedies as conservative and progressive, conventional and subversive, but as nonetheless complex texts that offer a range of pleasures and readings to their audiences and a range of challenges to the genre itself. Such a reading reveals the complexity and negotiation inherent in these films’ position as independent films presenting culturally and politically marginal content in a mainstream genre.
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Cox, Fiona E. "Dressing the part : costuming of lesbian identities in contemporary film and television." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/59528/.

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This thesis examines lesbian costuming and dress in contemporary British and American film and television, offering analyses of sartorial constructions of gay female identities in modern media. It uses close textual analysis and interviews with producers and consumers to examine the production, texts, and reception of selected representations, outlining current social rituals of lesbian style. Interviews were held with Cynthia Summers, Lesley Abernethy, Niamh Morrison, Catherine Adair, Janie Bryant, Tina Scorzafava and Mary Claire Hannan about their designs. Spectators answered questions and responded to photographs and a transcript. The thesis argues that the modern-day designer of lesbian costuming is subject to a contradictory triangle of demands, encompassing the need for costume to support character, resistance to stereotypes, and the recognition and perceived positive politics of identifiable lesbianism. Chapters covering Lip Service and The L Word; Desperate Housewives, Deadwood, and Mad Men, and Gillery’s Little Secret and The Kids Are All Right examine differing results of these pressures. The thesis argues that while anxiety over ‘butch’ stereotypes and heteronormative mainstream demands for assimilation play a part in the overwhelming ‘femininity’ of many examples, an increase in lesbian visibility has also paradoxically instigated a shift away from specificity in media representations through dress because lesbianism is no longer seen as a ‘story’. It suggests that lesbian authorship and using real-life lesbian styles as costume inspiration may offer a way out of the stereotype vs. ‘authentic’ imagery impasse without erasing recognisably lesbian iconography. Finally, the thesis concludes that the production, text and reception of contemporary lesbian images at times comprises a complete circuit of communication, with production decisions and everyday practices of lesbian dress both echoing and informing one another.
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Graham, Chelsea. "Defanged and Desirable: An Examination of Violence and the Lesbian Vampire Narrative." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1460127837.

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Books on the topic "Lesbians in films"

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Sanders, Lauren. Kamikaze lust. Akashic Books, 2000.

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Sobek, Daniela. Lexikon lesbischer Frauen im Film. Belleville, 2000.

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British Film Insitute. Film and Video Distribution. Lesbian & gay film catalogue. British Film Institute, 1993.

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Nestle, Joan. Lesbian Herstory Archives subject files. Primary Source Microfilm, 2004.

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Hutchinson, Jackie. Gays, lesbians and videotape: Gay and lesbian representations in film and video incorporating First Out promotional video. University of East London, 1997.

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1947-, Gever Martha, Parmar Pratibha, and Greyson John 1960-, eds. Queer looks: Perspectives on lesbian and gay film and video. Routledge, 1993.

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Julianne, Pidduck, ed. Now you see it: Studies in lesbian and gay film. 2nd ed. Routledge, 2003.

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Julianne, Pidduck, ed. Now you see it: Studies on lesbian and gay film. 2nd ed. Routledge, 2003.

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March, Caeia. The hide and seek files. Women's Press, 1988.

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Jeanne, Hall, ed. Gay and lesbian film production and reception. Johns Hopkins University Press, 1992.

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Book chapters on the topic "Lesbians in films"

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Imre, Anikó. "“Affective Nationalism” and Transnational Postcommunist Lesbian Visual Activism." In Transnational Feminism in Film and Media. Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230609655_9.

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Foertsch, Jacqueline. "Why We Watch: Lesbian, Gay, and Feminist Approaches to Film." In Conflict and Counterpoint in Lesbian, Gay, and Feminist Studies. Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230604162_6.

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Banerjee, Suchismita. "Engendering Identities: Gay and Lesbian Characters in Contemporary Indian English Young Adult Fiction." In Asian Children’s Literature and Film in a Global Age. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-2631-2_8.

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Mennel, Barbara. "Lesbian Desire Rewrites Venus in Furs: Monika Treut and Elfi Mikesch’s Seduction: The Cruel Woman." In The Representation of Masochism and Queer Desire in Film and Literature. Palgrave Macmillan US, 2007. http://dx.doi.org/10.1007/978-1-137-06999-3_4.

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Kajinić, Sanja. "The First European Festival of Lesbian and Gay Film Was Yugoslav: Dismantling the Geotemporality of Europeanisation in Slovenia." In LGBT Activism and Europeanisation in the Post-Yugoslav Space. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-57261-5_3.

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Bozelka, Kevin John. "Zero Girls and Lesbian Stylites: From Solar Sexuality to Camp in the Early Films of Roberta Findlay." In ReFocus: The Films of Roberta Findlay. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474497466.003.0004.

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Using Michel Tournier’s 1967 philosophical novel Friday, or, The Other Island, this chapter analyses the early films of Robert Findlay as journeys towards attaining a solar sexuality, an elemental, deindividuated jubilance free of language, categories, and rationalisation. The lesbians in later Roberta Findlay’s films long for transcendence. But they exist in a world that will not leave them alone. Pimps, psychiatrists, lecherous fathers, and all manner of derelicts subjugate them to sexual violence and/or attempt to correct their lesbian tendencies. Given how these later titles still lack a strong diegetic interiority, a viewer can take their horrors with a grain of camp. They seem to hail a self-actualised lesbian subject prepared to reject any oppressive realism. But Take Me Naked and Mnasidika seem to hail no one despite intimations in the latter of a lesbian Eden, making for a more avant-garde cinematic experience.
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Mennel, Barbara. "Counter Memories." In Su Friedrich. University of Illinois Press, 2023. http://dx.doi.org/10.5622/illinois/9780252045288.003.0003.

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“Counter Memories” discusses the three films Friedrich completed during the 1980s. The section argues that The Ties That Bind (1984), Damned If You Don’t (1987), and Sink or Swim (1990) interrogate the function of memory for the relation of private and public history. The Ties That Bind and Sink or Swim trace Friedrich’s memories of her mother and father, respectively. Damned If You Don’t reflects cultural memories of a generation of lesbians who came of age in the American postwar period. The three films blend narrative and documentary in an experimental film language that mimics the function of memory itself, using associative connection, fragments, and reverse chronology. They employ Friedrich’s autobiography as an entryway into social relations.
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Powrie, Phil. "Coup de foudre: Nostalgia and Lesbianism." In French Cinema in the 1980s. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198711186.003.0006.

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Abstract Coup de foudre (1983) is usually seen as an example of mainstream lesbian film, and has often been bracketed with similar Hollywood films from the 1980s, such as Lianna (1983) and Desert Hearts (1986) (see Holmlund 1991; Merck 1986; Straayer 1990). This might on the face of it seem surprising, given that lesbianism in Coup de foudre is closeted behind gestures and dialogue which are more likely to lead to the conclusion that it is a film about female bonding. Coup de foudre is also a nostalgic film, and it is the uneasy marriage between female bonding/covert lesbianism and nostalgia which I shall explore in this chapter. I shall be arguing that this marriage is important because it allows the spectator more easily to construct a female perspective, predicated on the rejection of patriarchal law. In this respect, lesbianism is tangential to the film’s concerns, although this is not to deny the validity of lesbian counter-readings. By linking nostalgia and lesbianism, however, the film creates ambivalence, since its nostalgia is clearly predicated, as indeed one might expect from the Kleinian analysis outlined in the chapter on Un dimanche a la campagne, on nostalgia for both father and mother. Far from suggesting that this ambivalence is contradictory, as if lesbianism excluded nostalgia for the father, I shall show how it is a crucial part of the function of nostalgia.
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Krutzsch, Brett. "“The Place Where Two Discriminations Meet”: Race, Gender, and the Threat of Violence." In Dying to Be Normal. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190685218.003.0005.

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Chapter 4 highlights how transgender women and queer people of color have been more frequent victims of violence than white gay men even though their murders have received less attention. The chapter turns to three films that address what most news outlets overlooked. In particular, Chapter 4 explores the 1999 film Boys Don’t Cry about the murder of transgender man Brandon Teena, the 2009 film Two Spirits about the murder of gender-variant Native American F. C. Martinez, and the 2014 film Out in the Night about an attack on seven African American lesbians in 2006. The chapter further demonstrates how much of the activism surrounding Harvey Milk, Matthew Shepard, and Tyler Clementi, as well as the It Gets Better Project, ignored issues of race, class, gender presentation, and religion that many LGBT people have endured despite proclamations that acceptance comes with the march of time.
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Engebretsen, Elisabeth Lund. "“As Long as My Daughter Is Happy”." In Chinese Discourses on Happiness. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888455720.003.0005.

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This chapter discusses motivational advocacy work on the part of mainland Chinese parents who are or have been, struggling to come to terms with their now-adult child being lesbian or gay. Taking the recent emergence of the organization PFLAG (Parents, Friends and Family of Lesbians and Gays) organization in China in 2008, and the growing popularity for their outreach work in Chinese media as a starting point, I trace the striking appearance of stories of parental support, love and understanding – or ‘love advocacy’ work. Through a selective reading of two of Popo Fan’s recent documentary films on PFLAG-China’s parental advocacy work, I show the complex emotional framings of love, grief, gender and family norms through variegated articulations of ‘happiness’, as they relate to broader socio-political narratives of national modernity and progress. The discussion, whilst most directly concerned with the modern project of happiness, also points to a broader and more complex nexus of individually felt sensibilities and normative values, whereby gendered identities, sexual orientations and roles within and beyond family relations, are being challenged.
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Conference papers on the topic "Lesbians in films"

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Zheng, Xinwei. "Analysis on the Self-Identification in Lesbian Relationships and Potential Stereotypes Portrayed in Films." In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.086.

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Ings, Welby. "Beyond the Ivory Tower: Practice-led inquiry and post-disciplinary research." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.171.

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This address considers relationships between professional and postdisciplinary practices as they relate to practice-led design research. When viewed through territorial lenses, the artefacts and systems that many designers in universities develop can be argued as hybrids because they draw into their composition and contexts, diverse disciplinary fields. Procedurally, the address moves outwards from a discussion of the manner in which disciplinary designations, that originated in the secularisation of German universities during the beginning of the nineteenth century, became the template for how much knowledge is currently processed inside the academy. The paper then examines how these demarcations of thought, that included non-classical languages and literatures, social and natural sciences and technology, were disrupted in the 1970s and 1980s, by identity-based disciplines that grew inside universities. These included women’s, lesbian and gay, and ethnic studies. However, of equal importance during this period was the arrival of professional disciplines like design, journalism, nursing, business management, and hospitality. Significantly, many of these professions brought with them values and processes associated with user-centred research. Shaped by the need to respond quickly and effectively to opportunity, practitioners were accustomed to drawing on and integrating knowledge unfettered by disciplinary or professional demarcation. For instance, if a design studio required the input of a government policymaker, a patent attorney and an engineer, it was accustomed to working flexibly with diverse realms of knowledge in the pursuit of an effective outcome. In addition, these professions also employed diverse forms of practice-led inquiry. Based on high levels of situated experimentation, active reflection, and applied professional knowing, these approaches challenged many research and disciplinary conventions within the academy. Although practice-led inquiry, argued as a form of postdisciplinarity practice, is a relatively new concept (Ings, 2019), it may be associated with Wright, Embrick and Henke’s (2015, p. 271) observation that “post-disciplinary studies emerge when scholars forget about disciplines and whether ideas can be identified with any particular one: they identify with learning rather than with disciplines”. Darbellay takes this further. He sees postdisciplinarity as an essential rethinking of the concept of a discipline. He suggests that when scholars position themselves outside of the idea of disciplines, they are able to “construct a new cognitive space, in which it is no longer merely a question of opening up disciplinary borders through degrees of interaction/integration, but of fundamentally challenging the obvious fact of disciplinarity” (2016, p. 367). These authors argue that, postdisciplinarity proposes a profound rethinking of not only knowledge, but also the structures that surround and support it in universities. In the field of design, such approaches are not unfamiliar. To illustrate how practice-led research in design may operate as a postdisciplinary inquiry, this paper employs a case study of the short film Sparrow (2017). In so doing, it unpacks the way in which knowledge from within and beyond conventionally demarcated disciplinary fields, was gathered, interpreted and creatively synthesised. Here, unconstrained by disciplinary demarcations, a designed artefact surfaced through a research fusion that integrated history, medicine, software development, public policy, poetry, typography, illustration, and film production.
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