Film Review : Gays Fucking On Film Essay

Ever since filmmakers started to explore the idea of focusing the story idea around ‘queer’ figures, people in society have been having mixed feelings about them. ‘Queer’ figures are basically people who are not within the male-female dichotomy. It is a term used to refer to homosexuals, transgenders and others who are unclear about their sexual preference. The queer film phenomenon was introduced in fall 1991 at Toronto’s Festival of Festivals, the best spot in North America for tracking new cinematic trends. (Rich 2013, Page 16) This got the ball rolling for more filmmakers to make films of different genres and subjectivity on this group of people. In this academic essay, the following thesis statement will be discussed – “The violence and

Historically, societies have divided the sexes into male and female and assigned specific gender roles for each group to ‘perform’. Alternative sexual practices outside of the norm were considered unacceptable and abnormal. These ideologies of heteronormativity have been reinforced throughout various social institutions including media where heteronormative portrayals have been considered standards. Furthermore, as Rogers mentioned, “Commonly intertwined with such heterocentrism are values celebrating heterosexuality as normal and natural while condemning or at least rejecting lesbigay sexualities.” (Rogers 72). Heteronormativity is largely depicted in the media and reinforce dominant norms of society, which portray heterosexual romantic relationships

In several cases, the desire to kill the queer self also occurs when it seems impossible to move forward without fully accepting and presenting oneself as queer. When this idea is seen on television it is presented in both the interpersonal and introspective forms. For example, the characters that attempt suicide, such as the eight queer women characters between 2001 and 2016, are illustrating the introspective act of assassinating the queer self by killing themselves. In contrast the interpersonal aspect derives from the idea of identity as zero-sum and therefore the queer characters who do not cover present a threat to the stability and validity of gay characters on screen. This paper will specifically investigate how the interpersonal side of "assassinating the queer selves" plays out on screen as a way to reinforce the importance of

MacKinnon similarly objects that the eroticism of gay pornography is derived from its ‘mimicry or parody or negation or reversal’ of the standard heterosexual arrangement. It affirms rather than undermines the standard sexual arrangement, and therefore harms women in the same way. However, applying HLA Hart’s practice conditions for social rules, the claim that variations from a norm endorse the norm can only be true if the variations are seen as deviations, are criticised as such, and the criticism is seen as legitimate. Although gay pornography has been criticised for a variety of sexist or heterosexist reasons, it does not induce these or similar critical reactions from its usual audience of gay men.

Before we can look forward, we must look back at queer representation of the past. The late film scholar Vito Russo painstakingly researched the evolution of queer representation in cinema in his landmark book The Celluloid Closet. In both the book and its documentary of the same name, Russo details the earliest portrayal of homosexuality in

This essay will identify and discuss heteronormativity and how it exists in our society. By making reference to relevant sources such as Steyn & van Zyl, the ideals of a heteronormative society will be explored and how they have been shaped by our social and cultural context. A recently produced Walt Disney film will be identified which portrays these standards of heteronormative gender structures. By analysing the film and making reference to an independent source, the background and history of this example will also be explored to determine if and why Disney films continually perpetuate heteronormative discourses of gender using the media. Steyn and van Zyl (2009:3) define heteronormativity as the institutionalisation of heterosexuality and

The Lesbian Gay Bisexual Transgender Queer community has been subjected to relentless criticism and bias for many years. To the point where anyone who believes that they are gay feels ashamed or afraid to come out and be who they really are. She’s a boy I Knew, is a story about Gwen Haworth and her struggle to accept and then become the woman she was always meant to be. In the film Gwen faces many struggles and in the following paper I will specifically examine how the concepts of gender inequality, ambiguity, and the language barriers society creates as it relates to the film (Anzovino & Boutilier 2015).

Although media representation of the LGBTQ community has increased in recent years, the quality of representation in mainstream cinema has not increased at the same rate. Certainly, gay and lesbian oriented cinema has provided vital validating and realistic portrayals of the queer community; however, conventional film has failed to take the final step in normalizing

There are many movies directed towards the LGBT population. Many movies are based on documentaries to educate the public about the LGBT population; other movies are based on comedies that feed into the incorrect stereotypes of the population. After watching some movies based on the population, common reoccurring themes were acceptance, rejection, exploration, stereotypes, discrimination, and depression. For example, in the movie Bridegroom, Tom and Shane are a gay couple who were in a serious committed relationship; however, after Tom died, Shane was unable to attend his husband’s funeral because Tom’s family would not allow it. Shane faces rejection from the family of his husband.

Later on, representations of gays and lesbians in the mainstream were filled with depictions of “sissy” gay men and “masculine” lesbians (Manuel). Effort was made to emphasize the abnormal effeminacy of homosexuals and the overly male-like behavior of lesbians. These depictions were made with the aim of convincing a predominantly heterosexual society that

Research question number one dealt with sexual talk. The content analysis of the media found that sexual talk that included, “relationship talk, talk about sexual interests, talk about past sexual experiences, and other sexual talk,” was heterosexual 90% of the time. In comparison, sexual talk in the form of LGB talk only accounted for 5%. The types of content that was coded for LGB talk were insults/jokes (18%), coming out talk (13%), and stereotypes (12%). Bond’s second research question focused on examining “the nature of LGB sexual instances.” Validating sexual instances was coded 108 times and made up the most sexual instances at 68%. In comparison, demeaning was coded 54 times and accounted for only 33%. The last research question focused on determining whether there were differences of the portrayal of sex and sexuality in varying media. In television, movies, magazines, and music adults and gay men accounted for most of the sexual instances. Additionally, “depictions of heterosexual sexual behavior were overrepresented and depictions of LGB sexual behavior were underrepresented” in the different forms of media examined in the study. The research question further examined LGB sexual talk in the different media types and found that the talk did not focus on “relationships

In Martin and Kazyak’s article, the authors point out how children’s movies, which are very accessible and woven into children’s play and learning, are one of the ways society teaches heteronormativity to young people. They do this through a research study which examined the sexual and hetero romantic content in children’s G-rated films that were popular and came out in the late 90’s and early 2000’s. The authors discovered two main themes from this study. The first theme is that children’s movies create heteronormativity through portraying hetero romantic love as special and powerful, which can be seen in the dramatization of characters ‘falling in love’ and the portrayal of a romantic relationships being the ‘most important’ (Martin and Kayak,

Critically assess the strengths and weaknesses of the term ‘‘queer’’ in relation to film analysis, drawing on academic debates and one or two films of your choice.

This essay will explore the ways in which the horror genre perpetuates repressive and oppressive social institutions, value systems and codes of behaviour surrounding the homosexual subject. It will be suggested that the generic conventions of horror films sustain repressive understandings of the normative order which position the homosexual subject as a threatening ‘other’. This essay will offer the opinion that it

In this discussion, I will claim how the value of women roles in films are greatly diminished due to the sexualized nature of female characters in films. The term “sexualized” is when women are objectified as being nothing but sexual symbols for men to gawk at. For decades women have been simply seen as “fuck toys” rather than their intellect on screen. This is in part because the film industry is regulated and run by mostly heterosexual males who make the decisions on what is brought on screen. How would a heterosexual male truly understand the intellect of a women? Her story? What she stands for? They wouldn’t. What they do understand is the male complex and how sex sells. They know how to prop a woman in a bikini showing her running down a beach half naked while her body parts are bouncing in slow motion. This male ideology is infecting Hollywood films, and we are only getting to see what they find entertaining which is women being hypersexualized. Rather than seeing a film of a woman being a lawyer who helped stop the imprisonment of a young black man who was falsely accused, we are presented with movies like “50 shades of grey”. These stories rarely if ever get told. The only way for this to occur is to bring awareness of the gender inequality in films. I am going to bring this awareness by providing examples of gender inequality in Hollywood films, statistical examples of gender inequality, and ways we can change this perception.