Some Like It Hot by Billy Wilder

Often, films reflect the expectations and norms of femininity and masculinity of the particular social context in which people create it. However, a film can also challenge such gendered norms and expectations which can cause viewers to perform an inward examination and even begin to challenge the gendered societal norms and expectations within their given social context. While the film, High Noon, conceptualizes characters in their typical gender expectations and norms, the film simultaneously challenges these norms through the characters of Sheriff Will Kane and Helen Ramirez.

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.

In their journal article of “Hetero-Romantic Love and Heterosexiness in Children's G-Rated Films,” Karin Martin and Emily Kazyak discussed how the animated Disney films as well as G-rated movies construct heterosexuality to young viewers – children, as they should not contain any of heterosexual scenes. According to the authors, young children are seemingly involved deeply in media world as it is a fruitful chapter of their sexual socialization; animated Disney films or other G-rated movies are what they are oftentimes engaged and attracted. It is always plotted as a stunning, beautiful lady waits for a brave, handsome guy to come to her life, then they would live happily ever after since the movies mark relationships between opposite sex repeatedly,

Award winning author Fred Gipson wrote the classic Old Yeller (Anna). His inspiration came when a dog saved his grandfather from a rabid wolf (Anne). Likewise Old Yeller saves the family from many dangers of the Texan land. Travis a fourteen year old boy is responsible for taking his daddy’s position while he is out on a cattle drive. His dad promises him as horse to look after the family and take care of his father’s duties, but his dad tells him he really needs a dog. His last dog, Bella died of a rattlesnake bite and he just wasn’t ready for another one (Gipson 5). Then that Old Yeller dog shows up and Travis tried to get rid of him because all he would do was steal food and lay around he was not good for anything. Then he shows his worth to the family when he protects them and also helps Travis tend to the land. Through obstacles, Travis learns life lessons that include coming of age, responsibility, family bond, acceptance, hierarchy in nature, the helping hand, survival and good and bad times.

As a general public, it's outlandish for us to investigate our own particular internal certainties without acknowledging in some capacity that our value isn't managed independently from anyone else alone. The ideas of bias and judgment in light of the characters that are the most unpreventable twirled to a head in this period of retribution, race, and sexuality specifically. The way we see underestimated sexuality delineated and potential HIV+ status in Six Degrees mirror the normal experience of the time, feeling as an individual like some piece of you is a creature disguised on display. Despite the fact that we see through, Paul, Trent, and Rich, the narrow-minded way that this world sees homosexuality, being gay are neither denounced nor is it commended specifically by the play itself. It is introduced like everything else in Six Degrees, a subjective and complex reality that requires additionally understanding before falling back on suspicions. Correspondingly, the twofold edged nature of well-meaning bigotry is analyzed. For instance, amid Flan, Ouisa, Paul, and Geoffrey's first destined supper together, the white characters swing to Paul for his feeling on politically-sanctioned racial segregation, as though his thoughts as the token dark individual in their essence will settle the undertaking for the last time. He performs commendably to their wants; his reaction is thoughtful to human rights however not apparently definitive, and doesn't present any specifically disquieting test to the way of life in which Ouisa, Flan, and Geoffrey as of now work. This presence of acknowledgment just through osmosis is an expansive idea for Six

Gender is one such convention that is taken to its limit in this story. The narrative opens with

The second pattern that the show demonstrates is the dominance of heterosexuality and heterosextual privilege. All the character in the show are in a heterosexual relationship which are reflected in the nature of the space that they occupy. In the workplace and within the household the representation of heteronormative culture dominates. There is no representation of homonormative spaces or other sexual minorities in the show. The third pattern that the show demonstrates is gender performance. West and Zimmerman refer to gender performance as “doing gender” which will be later discussed in the next section. Due to the strong heteronormative nature of the show, the pattern of explicit gender performances are portrayed through clothing, behaviors, and interactions.These patterns are all related to specific locations in which each of the genders occupies. It is through this segregation of genders that the show perpetuates societal norms that support heteronormative culture and result in gender inequalities.

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

Lee Daniel’s The Butler, a 2013 historical drama, follows the life of a man born to slavery, finds love and has a son that fights for equal rights, fights for equal pay himself, then dies after Obama becomes president. Cecil Gaines is born to a time of slavery in 1919 in Georgia. In the beginning of the movie, Cecil’s mother is being taken and raped by the plantation owner. Cecil, clearly upset by the abrupt action looks to his father for a solution. Giving in to Cecil’s pleas, the father confronts the plantation owner and is shot and killed. Following the unfortunate series of events, the grandmother on the plantation takes Cecil under her wing. He is brought to the house and becomes a house servant. The widow educates the boy in serving and behaving properly in a house of white people. Years after starting, the boy leaves the plantation and his mother behind. Soon after, starvation gets the best of Cecil and he breaks into a pastry shop. The head slave to the owners of the shop came rushing down to find Cecil consuming the pastries.

Heteronormativity is when heterosexuality believed to be the only natural norm in our society for sexual orientation. “New Girl”, an American sitcom, aired in 2011 on Fox, follows Jess (Zooey Deschanel) as she lives in a loft in Los Angeles with three men she meets on Craigslist. The second episode of the second season is what will be focused on in this essay. During which Jess meets a stranger when he accidentally mistakes her for his blind date, Nick (Jake Johnson) believes he has met his future self, and Schmidt (Max Greenfield) tries to make a good impression on Winston’s (Lamorne Morris) mom and sister. The writers of “New Girl” follow basic gender roles within the story-lines of the television show. The show follows a heteronormative plot. Through examining “New Girl”, a viewer can see the issues arise when considering the portrayal of men and women in media, and heteronormativity in television shows.

The purpose of this research question is how the representation of drag culture and sexual identity in the cult classic The Rocky horror picture show (Jim Sharman, 1975). This will be done through the use of a textual analysis taking the scenes and characters from the picture show and analysing those using theories and additional scholars analysis made about the film to back up the critique that is made. The Rocky horror picture show is considered the best cult movie by Rolling Stones magazine (N/A, 2014, online). The film is about a newly engaged couple called Brad portrayed by Barry Bostwick and Janet portrayed by Susan Sarandon. When one night their car breaks down by a castle. As they stumble into this castle there created by world so unlike

Some like it hot is a 1956 comedy film by Billy Wilder, which was produced by Metro Goldwyn Mayer Studio (MGM). This film was about two men (Joe and Jerry) that witnessed a gangster mob shooting down a couple of men that sold them out to the cops. These two men were played by Tony Curtis and Jack Lemmon. They skipped town by dressing up as women and by joining an all-women’s band. Since they were disguising themselves as women, they began to encounter a lot of events that eventually got them discovered by the mob. Although this film revolved around Tony and Jack, there was a deeper meaning to the film that allowed the same sex to form some type of relationship connection that was not as open as this film portrays it to

With reference to relevant cultural theories analyse the representation of sexuality in a film/television text of your choice.

Dirty Dancing is a romantic American film made in 1987 and directed by Emile Ardolino. The film stars the late Patrick Swayze as Johnny, a rebellious dance instructor and Jennifer Grey as the innocent protagonist, Baby. The film follows Baby’s time while she stays at Kellerman's, a resort in the Catskill Mountains with her family. It shows her abandoning her innocence and sensibilities as she meets older and more interesting people which lead her to rebel against her ruling father.