Homosexuals In Australian Film

The representation of the LGBT community in the film industry has long been a topic of much debate. In her article, “It Ain’t Easy Being Bisexual on TV,” Amy Zimmerman addresses this topic with specific interest on bisexual representation. By appealing to the logic of her audience, using an informal tone, and referring to relatable content, Zimmerman constructs an argument which persuades readers of The Daily Beast that the film industry is unfairly and inaccurately representing bisexuals. However, her argument holds little influence over those who are not movie fans or The Daily Beast readers.

He adopts an ambivalent tone in order to examine the conflicting views of high school genre films. Denby’s purpose in writing this essay is to show how the overuse of these stereotypes results in few original teen films. Original movies expose their viewers to a diverse range of people and ways of thinking. Adolescents often mirror or find inspiration in the characters they see in media, so it is important to depict a variety of people in media targeted towards them. People of various sexual orientations should be represented more prominently and truthfully in media targeted towards children in order to promote acceptance and provide role models for those exploring their identity.

= Since the revival of Australian cinema in early 1970s, Australian films have focused on certain themes of social perceptions and representations of masculinity. We see dominant,

Australia’s Identity plays an important part in the stereotypes identified in the film Beneath Clouds, (2002) directed by Ivan Sen presented through violence, racism and a less than adequate education. Through Drover 's Wife (1892) written by Henry Lawson characters are depicted through one mother 's hardships and the way she raises her family in the absence of her husband. Both Beneath Clouds and Drover’s Wife explore Australian identity and what makes it, along with the integral part of any culture in a diverse way.

In surveying Australian film production over the last century, what visibly occurs is a general evasion of Aboriginal issues and an absence of any balanced representation of Australia’s notable Indigenous population. But I need to add, that things are changing. Several recent films seek to redress this imbalance and provide a substantial Indigenous storyline.

Australian film and television deal with such themes by accepting the reality of Australian contexts. The Australian demographic are known for their rough humour and approach, hence the depiction of an Australian man, or woman, can be taken lightly and not offensively. At the same time, film and television are careful in representing Indigenous Australian as opposed to stereotypical white Australians. It is these historical, political, socio-economic ideologies that shape Australia’s national ‘type’.

Most Australians seem to enjoy The Castle and everyone will have a different reason for loving it. Some will find it funny, some will enjoy the battle of the average Aussie against a large and powerful organisation and others will say it shows Australian values of fairness and mateship, but for many it will also be about a decent man who loves his family and his home. This movie is full of exaggerations of behaviour and language that Australians can relate to. It also uses selective bad language for effect to highlight that most Australians do swear in certain circumstances.

The perception of masculinity within Australian films is a reflection of our society’s views and opinions of what it is to be considered masculine. It is continually reinforced in our society by the constructions of the male character in movies, just like Archie and Frank, in Gallipoli and particular male figures within our nation’s history, such as Ned Kelly. Peter Weir’s reflection of masculinity through the use of his two main characters Archie and Frank, in his 1981 film Gallipoli, helped to perpetuate this construction of the Aussie male stereotype

Media has always been highly influential in our society; it’s carefully constructed in order to show certain values, beliefs and messages. When viewers are exposed to topics they have little experience or knowledge in, media can especially play a large role in shaping their own opinions. It has been shown that people who know a LGBT+ person in their lives are much more likely to be supportive of same-sex marriage and the community in general. In place of that, viewing characters in film or television can adequately supplement the empathy gained from personal experience. This is exemplified by Wilson Cruz, the actor of Rickie Vasquez, a gay character on the 1994 television series My So-Called Life: “...Vasquez was the first gay person that they knew and because of the light he shed on the issue...I think people took up the cause of LGBT rights...I know for many people the only LGBT people that they know are people that they meet on their television screens or at the movie theater.” Since then, the amount of programming featuring openly gay characters has steadily increased, and with it, people are gaining a better understanding of the issues they face. As the years progress, Canada is being exposed to greater diversity: both on the television screen and within its community.

The LGBT culture is expressed in the film "GBF." The acronym GBF stands for "Gay Best Friend." The film focuses on two male gay friends Tanner and Brett who are too scared to come out of the closet. They attend a high school where there are no homosexuals at all. Brett makes a plan to out himself based on an article in a magazine titled GBF but his plan does not work out the way he wants it too and he outs Tanner instead. Now, the popular girls who rule the school demand that Tanner be their new "GBF". Tanner is so confused and scared

There are an estimated 73, 649 teenagers of a diverse sexual orientation or gender living in rural and regional Australia (ABS, 2017a; ABS, 2017b; Department of Health and Ageing, 2012). These teenagers are geographically and socially isolated in contrast to metropolitan teenagers of a diverse sexual orientation or gender due to few population covering a larger area of Australia (Morandini, Blaszczynski, Dar-Nimrod, & Ross, 2015). Firstly, these teenagers experience risk factors associated with rural and regional living, being an adolescent and being of a diverse sexual orientation or gender, refer to Appendix A for a table of health problems. Mental health disorders, predominantly anxiety and depression, are a major factor contributing to

Stereotypes relating to Aboriginal and Torres Strait Islander people circulate through the media, including newspapers and reports, books both fiction and nonfiction, Australian children’s television, and any films or tv shows set in Australia. These stereotypes come from poor or shallow representations of Aboriginal and Torres Straight Islander people in fiction – for example, a drunken Aboriginal stock character in television comedies – as well as biased reporting and nonfiction – for example, picking and choosing sound bites with which to represent Aboriginal leaders which do not encompass their full statements.

It was this filmed that sparked the 1927 production code, which was called the Don’t and Be Carful’s. This production code was a guideline for professionals in the industry, on what was not to be depicted on the screens for audience to watch. The representation of miscegenation was strictly prohibited from the years 1930-1956. This production code was a reflection of the views that were held in society at the time. As cinema is often a reflection of society, miscegenation when it is present in films is often if not always represented to the audience as problematic. The relationships start off great but have a hard time progressing to anything further as, each side has to deal with problems that they cannot relate to, or has issues addressing with their partners. These as these were the views of society at the time, the view that these interracial relationship wouldn’t work and were unnatural were projected on our screens to further reinforce the message to the audience.

One of the most iconic movies from the 80’s is Top Gun. From the thrilling flight scenes to Tom Cruise 's winning smile, the movie was, and remains, a hit. Maverick, played by Tom Cruise, is sent to an elite naval flight school with his best friend Goose. Both men must undergo training in an extremely competitive environment. to become the best pilots in the academy. They face many challenges and loss along the way. Throughout the movie Top Gun, the hyper-masculine environment of flight school allows for there to be a much more fluid relationship between homosexuality and homosociality. Unlike in everyday occurrences, where romantic exchanges between men are considered gay, the exchanges between the characters in the movie are often considered completely normal. Though not every scene in the movie portrays this accepting, modern perception of homosocial relations. The movie often contradicts itself by also displaying hypermasculine scenes. This contradiction illustrates how there 's not only multiple perceptions of masculine behavior but also a conflict in society about the proper way for men to act while together.

The Full Monty, directed by Peter Cattaneo is a 1997 British comedy-drama that brings into question everything that is supposedly known to be true of traditional masculinity. This is done largely through showing the struggle of unemployed men in Sheffield, England. “Going for the Full Monty: Comedy, Gender, and Power,” an essay by Jill Marshall assists in addressing the status quo breaks presented in the film. Marshall discusses the issues associated with masculinity and how director Cattaneo uses his comedic artistry to bring to light these important issues. In order to grasp the entire meaning of this film, reviewing The Full Monty while also looking at Marshalls essay and her take on the film.