Homosexuality in film

Anneke Smelik’s “Gay and Lesbian Criticism” explores homosexuality in cinema. Homosexuality was present in films since they began and is prominently featured in several films in our society as the issue of homosexuality has been pushed to the forefront. Early portrayals of homosexuals in films were stereotypical and insulting, reflecting the overwhelming prejudice and even hatred of homosexuality. Gays and lesbians were seen as the queen and the dyke, as something unnatural and scary like the sissy, the lesbian vampire, the unnatural woman, and the gay psychopath. Throughout history, the exposure of homosexuality in films, positive or negative, was heralded by the homosexual community; they needed to establish their identity in society. Today, in our society, homosexuals are more widely accepted, even with the legalization of gay marriage in some states. Homosexuality in films is more prevalent today and portrays gays and lesbians as humans rather than unnatural, abnormal beings. In The Business of Fancydancing, the main character, Seymour is a gay Native American who had left his reservation to pursue his career as a poet, alienating himself from his family and friends who believe he is abandoning their culture. When his childhood friend dies, Seymour returns to his old reservation and is forced to confront his family and old friends. Seymour’s homosexuality in the film does not play a large role in the plot; rather, the film deals with it very little. Seymour’s homosexuality lacks truth and depth; in one scene, Seymour offers to leave his lover to live with Agnes and simply tells her that they would not have sex to reinforce his sexuality. This scene reveals society’s mentality that gays are restricted to lovers but cannot marry or live together like heterosexual couples. In society today, this issue has been brought to the forefront and can be seen in many films. One of the most recent and notable films pushing gay rights is Milk, the story of Harvey Milk, a prominent figure in the gay rights movement in the 1970s and the first openly gay man to be voted in a major public office. The film does not skirt around Milk’s homosexuality like Seymour’s homosexuality in The Business of Fancydancing and portrays it simply as Milk’s sexuality, nothing more and nothing less. The film disregarded sexuality in its portrayal of Harvey Milk, making him human and honest, rather than a stereotypical and frail image of a gay man. Milk garnered sympathy for the gay rights cause and served as a film to provide hope to the gay community, especially in our society where gay rights activism has become more prominent with many heterosexuals supporting the cause now. Like in the past, homosexuality will always be portrayed in cinema; however, the idea of homosexuals is changing from the initial prejudice of these seemingly unnatural and disgusting group of people to a sympathetic view of gays and lesbians as people with different sexual preferences.

Celluloid Closet

The Celluloid Closet by Vito Russo is a book which was also adapted into a documentary which follows and exposes the history of homosexual representation in film. It brings to light the mistreatment of gay characters through examples of films in which gay characters were frightening villains or extremely ashamed of themselves. The Celluloid Closet also points out the pattern in many movies where the gay characters are eventually killed off. Whether it’s being shot like in Rebel Without A Cause or suicide like in The Children’s Hour it was a theme in Hollywood for the homosexual characters to meet their end within the movie. I had personally never noticed many of the points made in the documentary of The Celluloid Closet. These norms and ideas are slipped into society without much notice. Cinema along with other forms of media can subtly influence the general population through suggestion. It was fascinating to hear the accounts the commentators in the documentaries had to share about their experience watching movies as gay viewers. They all saw the suggestions about homosexuality so clearly because they interpreted the films through their own filters. One woman commented that growing up she was almost desperate for any recognition or visibility of homosexuality in the world around her.

Audrey Chasteen

Gay and Lesbian Criticism: Reading

Gay and lesbian aspects of movies were not favored in post-classical Hollywood and often times directors had to use hidden meanings in order to portray a gay relationship in films. Whenever homosexual relationships were used on stage they were shown in bad light in order to discourage this behavior in real-life. As more movies appeared showing homosexual aspects, a new series of stereotypes came about depicting gays. Being gay was represented as unnatural and unfit for society. The sissy, the dike, the unnatural woman, all showed the audience the side effects of being gay. These stereotypes not only added to the already prejudiced minds of regular people but also infused gays with feelings of worthlessness and disgrace. The stereotypes portrayed by homosexual movies also depend on the authorship of the films. It is very easy to determine whether the director of a film is gay or really in tune with gay culture by the way homosexual characters are shown in their movies. If they are stereotyped against then it's safe to say that the director himself is either prejudiced or so ignorant that he deviates for a truthful portrayal. Movies in which homosexuals are shown as day to day people and are treated equally are rare to find, however, there has been growing number of films which advocate gay equality in the past few years. As our culture begins to learn more about gay culture, then Hollywood will, in turn, change it's negative portrayal of homosexuals and try to rectify the decades of anti-homosexual messages it has sent out.

The Business of FancyDancing

This movie is not just a movie about homosexuality and the issues associated with it, it also exemplifies the struggles of a person afflicted by many different aspects that make them different from the norm. Seymour Polatkin, the protagonist, is shown as being ridiculed for being Native American and homosexual, and the conflict between these two aspects of his life. His partner does not approve of his attempts to reconnect with his past life at the reservation and his only heterosexual relationship, while his Indian friends do not accept him for different reasons, mainly because he left the reservation. The movie portrays Polatkin as a strong character and he is not afflicted with the stereotypes associated with a homosexual that are given by the readings. The movie shows the tribulations associated with being homosexual are shown, much like in older movies, but unlike those older films, the homosexual protagonist does not end his/her life or have an unhappy ending; Polatkin returns home to be with his partner, assuring the audience, and himself, that this is who he is, not his native American roots. This positive ending, in terms of the homosexual aspects of the movie, forces the audience to reconsider the notion of homosexuality being deviant and a bad life choice, as Polatkin is happy after he goes through all of the issues he does throughout the film.

Homosexual Stereotypes

Gay and lesbian stereotypes have been an important part of Hollywood cinema since its emergence. Stereotypes such as the sissy, the dike, the sad young man, and the unnatural woman have been common character types in many movies in both the classical and post-classical eras. However, each of these stereotypes fail to recognize the true nature of gay men and lesbians. Instead, these stereotypes focus on the negative aspects of homosexuality and present only a narrow point of view that reaffirms the negative connotations associated with a gay lifestyle. For example, the sissy stereotype focuses on creating a male character that is weaker than the rest of the men and women onscreen. This stereotype allows male homosexuality to be expressed in a way that is both inoffensive and non-threatening. On the other hand, the dike stereotype emphasizes the intense dislike of men that characterizes some lesbians. Both of these stereotypes have become common images of homosexuality in American culture despite their inaccurate descriptions. While some of the traits portrayed by these stereotypes are indeed true to certain individuals, they are not general categories into which all gay men and women can be grouped. However, it is often the case that homosexuality is viewed in these terms simply because they have been accepted by society as normal. These pre-determined points of view have profoundly impacted the way society views homosexuality off the screen. By presenting a viewpoint that fails to take into account the true nature of homosexuality and that narrows it into predefined categories, cinema has greatly affected the way homosexuality has been accepted into our modern society. Naturally these stereotypes have been targeted by gay and lesbian criticism in an attempt to rectify the false ideas they instill about gay men and women. By focusing on correcting the popular image of homosexuality, incorrect gay stereotypes will undoubtedly be corrected in the future. In turn, this will lead to the slow elimination of narrowly defined homosexual stereotypes from popular cinema and an influx of more fully developed gay characters.

Hill, John and Pamela Church Gibson. The Oxford Guide to Film Studies. New York: Oxford University Press,1998. Print.

-David Zwick

The Business of Fancydancing

Unlike films which make a mockery of their homosexual characters, Sherman Alexie's The Business of Fancydancing develops the experience of the dynamic character Seymour Polatkin in a way that respects homosexuality. Seymour is an openly gay Native American poet. He is portrayed as a real, substantial person, contrasting the shallow stereotypes that Hollywood has made so recognizable. Seymour is successful in his career and proud of his sexuality without letting it be the sole defining feature of his personality.

The reading from this week, "Gay and Lesbian Criticism" by Anneke Smelik discusses how stereotypes of gay men and lesbians in films established norms. Through degradation of homosexual characters, films established heterosexuality as a socially acceptable standard. This contributed to audience's formation of world view. For straight viewers, cinema reinforced that being gay was not normal. Cinema also had the effect of instilling self-hatred in gay viewers. The movie The Business of Fancydancing breaks out of this behavior. Seymour is clearly content with being gay and for him it is normal.

Seymour is no stereotype. He is unique. It was uncommon for an Indian on his reservation to become a poet. His behavior does not fit in with what is perceived as stereotypical. He is a deep character whom audiences can relate to. The level of development seen in his character shows a significant divergence from characters such as the costume designers in The Broadway Melody. In this 1929 film the effeminate male costume designers were a source of comedic relief. Though their sexual orientation was not explicitly stated, it was implied. This put the idea into audiences’ minds that being gay is something to be mocked and not respected. Cinema has a way of telling people what to think about society, and themselves.

Seymour from The Business of Fancydancing

Character from The Broadway Melody

The character of Seymour came across as a realistic character to me because even he struggled with accepting the way his life was. Even though he was secure in his sexuality, in a conversation with a friend he admits that he has frequently wondered what his life would be like if he was straight. He is happy with the condition of his life but like most people in reality, still has questions and personal struggles. He is in the process of being accepted by his tribe who feel that he abandoned them by leaving the reservation and not returning for such a long time. He used poetry to grapple with his own thoughts and feelings. The Business of Fancydancing did a good job of representing a gay character in a realistic, respectful manner.

Audrey Chasteen

Gay and Lesbian Criticism

The American public most associates the emergence of homosexuality in film with the premiere of Ang Lee's film, Brokeback Mountain. However, the presence of this issue dates back to the beginning of cinema. The way in which the homosexual issues and characters were treated has changed drastically. Early Hollywood, and many other nations' filmmaking industries, portrayed homosexuals as something less than man and relied solely upon stereotypes, much like any other minority. Modern day cinema, and television for that matter, tend to show the humanity of the homosexual actor or group while breaking down the previously held stereotypes. The crossover from film to television signifies a shift in the collective mind of the public. One of NBC's winningest shows, Will and Grace, shows the life of two homosexual men in New York City and their interactions with people who are heterosexual, homosexual, and many places in between. The show breaks down the stereotypes of homosexuals in such a way that American public could identify with the protagonist. The recent films addressing the issue, including a documentary glorifying the efforts of a man who worked for equality for homosexuals, coupled with the recent surge in support for gay marriage and other rights, are changing the face of American politics and Hollywood films and stereotypes.

-David Zabriskie

Brick Lane's Portrayal of Women

Patricia White’s “Feminism and Film” touches upon the reflection theory, which addresses the belief that films reflect social reality. According to this theory, the portrayals of women in film represent the way society regards women. Feminists criticize these stereotypical and distorted ideas film gives about women in regard to how they act and what they want. In Brick Lane, the main character, Nazneen, is initially portrayed as a frail, helpless woman trapped in a loveless, arranged marriage. In relation to the reflection theory, Nazneen represents the stereotypical woman confined to her role as a mother and wife. Nazneen is filled with desire for her freedom and seeks it in a handsome clothing worker with whom she has an affair. Through Nazneen and the men in her life, including her abusive husband and her immature boyfriend, the film shows the distorted idea that women should be responsible for everyone and everything in their lives. This control that men have on women as seen in the film is amplified by the underlying Muslim conventions. At the end of the film, Nazneen finds the strength to end her relationship with Karim and gains her freedom from her husband, overcoming the expectations of women’s roles in society as initially portrayed in the film.

-CN

Brick Lane Analysis

Brick Lane depicts the story of a Bangladeshi woman, Nazneen, who becomes independent. The movie shows how she transforms into a strong woman capable of making her own decisions and in some aspects seems more strong than her husband. The first step towards her independence occurs when she decides to sow; even though her husband is against it, she decides to take matters into her own hands, in order to make enough money to return to Bangladesh. Later we see that she engages in an affair, and this again depicts her as independent because it moves away from the precedent that men are in control of the relationship. Her husband has to accept this affair and he does nothing about it, showing for the first time that Nazneen is not controlled by her husband. Later in the movie Nazneen has the courage to go up to the lady who charges them money while, Chanu, Nazneen's husband, runs away when he sees this woman. The director uses this scene to leave no doubt in the audience's mind that Nazneen is a stronger person than her husband. Lastly, Nazneen wins her independence when she decides to stay behind in England even though her husband leaves for Bangladesh. All these scenes show how Nazneen slowly grows from a submissive wife to a self-supporting woman. The movie is clearly feminist because it moves away from portraying women as simple housewives who listen to their husbands. The movie gives confidence to women, that they can achieve anything if they put the effort in and that they should all take control of their own lives without any man's influence.

Amelie

Jean-Pierre Jeunet's movie, Amélie, not only exemplifies the difference between Hollywood cinema and European cinema, but also can be seen as a feminist film. Amélie is a film that could be viewed as an attempt to appeal to a broad, multinational audience, as it includes many aspects that appeal to many different cultures: comedy, character development, and romance. This may be due to the French, and European, film industry's attempt to be known as something more than just the producer of art films. The long-standing dominance of Hollywood in the global market has been the bane of the European’s existence, so to speak. Amélie incorporates the traditional characteristics of French filmmaking, as well. The movie included scenes of a sexual nature, which are more common in French films than in Hollywood films. It fits well into the category of a Nouvelle Vague film, with its use of actual locations rather than sets and the main plot revolving around the developing relationship between a woman and a man. Amélie also can be viewed as a feminist film, as the entire film revolves around Amélie and her adventures. She is shown as being a strong, independent woman and capable of even the most insurmountable tasks. Her adventures include reuniting a man with his collection of goods from when he was a child, giving a recluse joy, helping a disabled man become happier, and find joy in her own life. In all of these escapades, the change she brings about a positive change within the people. She does not rely on any male figure for any sort of help and this propagates the feminist ideology that women and men are equal and that women can operate without men. The film, while enjoyable, breaks preconceived notions about European films and the idea of a seemingly pro-feminist movie, as many men would deem most feminist movies as dry.

-David Zabriskie

Video Project Essay 2

The Impact of Women on the Beginning of Film

Throughout the history of cinema, women have played a key role in the success of the film industry. Although their roles in films have changed over the years, women have remained an important driving force behind film innovation and production. Recently it was discovered that women had played a pioneering role in the beginning of the film industry. Alice Guy-Blache is credited with directing the first fiction film. In addition, she produced “hundreds of short films in France and later in the United States, and more than twenty feature films through her film company, Solax” (White, 125). Lois Weber, another prolific film-maker, created many movies that helped “illuminate links between early twentieth-century middle-class feminism and the emerging cultural role of cinema” (White, 125). Although forgotten until recent discovery, these two film-makers played important roles in the initial emergence of the film industry. Both women serve as examples of the fact that although the roles of women in the film industry vary over time, their impact is powerful, and has served a large role in molding film production into what it is today.

Hill, John and Pamela Church Gibson. The Oxford Guide to Film Studies. New York: Oxford University Press,1998. Print.

-David Zwick

Essay 2

Video Essay 2

Defining the New Wave (Essay 2) David Zwick

400 Blows!

The French New Wave which started in the 1950s and 1960s had a series of new and interesting movies which complemented the European art cinema genre. The movie 400 Blows, by Francois Trouffaut, is now recognized as one of the most important films of the French New Wave. The film, based partly on Trouffaut’s life, depicts an original story of a young boy and his mischievous acts. The movie not only appeals to young adults who are themselves living this mischievous life but also to an older audience who likes to reminisce about their childhood memories and who are captured by this relationship to their own young lives. The movie therefore was a natural success not only in France but throughout the whole world.
The film also uses a series of unique techniques to portray its message, showing Francois Trouffaut’s auteur capabilities. The ending scene in particular shows the genius of Trouffaut. As the main character, Antoine, runs towards the sea to escape his troublesome life, the camera closes in on his face as he stares out into the ocean. This shot allows the audience to feel compassion for the main character and the angle shot on Antoine’s face fully relates to the new found hope that Antoine has found. He has now transformed into an adult who will begin his life anew without memory of his hard childhood. Because the movie does not have a definite ending, it again leaves room for the audience to derive their own meaning for the movie adding furthermore to its universal appeal.

European Cinema

Ginette Vincendeau's article "Issues In European Cinema" explains the differences between European film and the typical movie produced by Hollywood. The expectations that audiences have come to develop from fast paced, action based American films can present an obstacle in their appreciation for a foreign cinema. When our English class watched 400 Blows, for example, a common reaction was frustration with the lack of excitement and fluidity in storyline. But Vincendeau presents study of European cinema as a study of art cinema. European films are commonly aesthetically innovative, socially committed, and humanist. Especially into the 1970's and 1980's, it has become the design of European filmmaking to counteract Hollywood's domination over markets. The viewing experience associated with European cinema requires a new mindset in order to appreciate the text. Recognizing the purpose and methods of the film being viewed is beneficial to the audience's overall understanding and enjoyment.

-- Audrey Chasteen

Vincedeau, Ginette. "Issues In European Cinema." The Oxford Guide To Film Studies. New York: Oxford University Press, 1998.

Genre Hybrids

The term genre has been around for a long time, and is often associated with the analysis of classical literature. More recently, the term genre has been become associated with describing the general characteristics that are present within films. However, it is almost impossible to define a movie under the strict terms of any one genre, especially since the majority of films take different aspects from a variety of categories as a basis of their storyline.

Generally when one thinks of a genre, a specific category or topic will come to mind. Some of the most commonly referred to genres are the horror, western, film noir, comedy, melodrama, and action categories. Yet almost every movie is in some way a hybrid as it takes aspects from many different categories. Even the most genre strict movies have certain elements that were taken from another category. Take for example the movie The Searchers (1956). This movie strictly follows the basic outline of a western movie, and includes iconic features such as the stoic cowboy, the marauding Indians, the majestic landscape, and the expansive distances. However, The Searchers also includes elements from other genres. The romantic relationship between Martin and Laurie serves as a critical sub-plot throughout the story. Therefore, although the main theme of the movie is a western, The Searchers also takes elements of romance from other genres as well.

This example shows how even the most genre specific film contains aspects of other film categories as well. The hybrids created by this merging of characteristics allow directors to create films that are both more diverse and different from other movies within the same genre. It is this difference that allows directors to take the basic framework of a certain genre and mold in into a unique story that builds upon the foundations of the existing genre characteristics. Arguably, it is this ability to make something unique out of a basic genre template that has allowed Hollywood films to be so successful.

-David Zwick

Racists and Bigots

The movie Crash addresses the dangers of making decisions based upon assumptions and prejudices. The stories show the ever present prejudices that every person shares in the movie, whether they began the story with these beliefs or if they developed them, like Cameron Thayer, who developed a distrust and disdain for the white officers. Some of the events shown are caused by prejudices, such as the attempted shooting of Lucien by Farhad, while other events explain how some of the prejudices became known, like Anthony and Peter stealing cars while talking about how that stereotype exists and that they are offended by it, yet they perpetuate it. Racism has always had place in film; it is present in many movies, but it has not been truly, explicitly addressed since The Birth of a Nation. The movie is saturated with prejudices and a general mistrust of other people, problems that plague modern America which the movie addresses by showing that the characters that change go on to live happier lives, even if they are hurt in the process. This movie breaks previous conventions by sharing what can be considered the main roles of the movie between white and non-white actors, giving them all the same importance and developing each character separately, but still in depth. Wiegman's essay, Race, Ethnicity, and Film, talks about how these main roles were always reserved for white actors, even when the role being portrayed is one of a different race. This movie reflects America's changing views of racism and political correctness. Crash attempts to convince the audience about the ills of racism, summed up in the lines from Jean, "I am angry all the time... and I don't know why," which she then talks about how she wants to change, representing a positive shift to the audience.

Wiegman, Robyn. Race, Ethnicity, and Film. New York: Oxford University Press, 1998. Print.

-David Zabriskie

Race and Ethnicity In Film

The portrayal of various races and ethnicities in cinema has certainly come a long way since Griffith's Birth Of A Nation (1915). This reflects the progress of society. In the past, it has been a pattern of films to serve as reinforcements of racist perceptions by representing minority characters through an extreme degree of stereotypical behavior. Though there are still issues concerning race and ethnicity in making films, there is obvious progress. A minority actor in the early 1900’s was not allowed an important role. Currently the most successful and well-respected actors in Hollywood come from various ethnic backgrounds. Don Chedle for example who played a primary role in the movie Crash has received 17 academy awards as well as 44 additional nominations. Crash takes an even further advanced approach by critically examining stereotypes and assumptions as compared to reality. This correlates to forward thought in American society as diversity is becoming more and more recognized, and being highlighted at the foreground of thought.

Racism is everywhere

Film plays an influential role on the perception of different races and ethnicities. Crash examines stereotypes prevalent in the past and still in our society today. Through the intertwining vignettes, Crash presents different races and ethnicities and the common stereotypes associated with them. Anthony and Peter serve as archetypes of the black inner-city car thieves; Daniel struggles against the label of a Mexican gangbanger; Farhad is labeled with the identity of a terrorist because of his Persian roots. These stereotypes and the people casting the stereotypes in the film show how racism and prejudice affect our perceptions of and interactions with people in everyday life. Despite the diversity in America, racial discrimination and prejudice is still inescapable and, to some extent, defines the characters in the film. Anthony, who complains about the racist and stereotypical views of blacks, conforms to these stereotypes in many ways. In the end, racism will remain a prevailing issue in our society. Crash does not provide a solution to racism; however, the film draws empathy for every character, suggesting that understanding of different races and ethnicities to some extent will ease the racial tensions of our society today. Crash ends on the note that we are all human and, despite our different backgrounds, we are all connected and can find a way to understand each other on some level.

- C.N.