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Trans portray in the media
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The film genre of lesbian, gay, bisexual, transgender, and queer, better known as LGBTQ has been around for a long time. Two terms often associated with the genre include gender identity and sexual orientation. Gender identity is how one identifies their gender whereas sexual identity is who someone is attracted to both physically and emotionally (“Lgbtq Archives.”). The main element that makes and LGBTQ film just that is that the protagonist falls into the category of being LGBTQ. The overarching, as well as reoccurring themes of the genre include the rejection of heteronormative belief and breaking normalcy. The genre was built around rebellion and difference, the first of which is the Hayes code in the 1940s. This can be evidenced by, “the …show more content…
First off and most obvious, the main character, Billy Bloom, fits into the category of being LGBTQ. However, Billy is not the only LGBTQ character in the film, this is another guy who displays homosexual actions. In a scene toward the end of the movie, Bernard surprises Billy and attempts to kiss him. Along with this, Freak Show clearly challenges gender and sexuality codes not only with Billy but also with Flip. It is clear how Billy challenges the norms but in Flip it is far more discrete but still there. Flip is portrayed as the king jock of the school but does not act like it. He hangs out with Billy which brings about negative feedback and he does not love playing sports, he prefers art. Next, the film does its best to educate viewers as well as positively portray LGBTQ members. The horrific events Billy has to go through sheds light on the still deplorable treatment LGBTQ members have to face. To paint a more positive image, the film shows how Billy was able to overcome and lobby for change. One scene in particular where Billy does his best to change perspectives on LGBTQ is his homecoming queen …show more content…
Previously, Flip had asked Billy if he could tone it done a little at school so as to avoid unnecessary harassment. Billy agrees but says he is going to be himself at home. At the beginning of the scene, Flip can be seen entering the Bloom estate from afar. This zoomed out perspective emphasizes the sheer size of Billy’s home. Flip looks like a fly on the wall in comparison to massive home that Billy resides in. In addition, this shows the wealth that Billy’s father has. This wealth allows Billy the extensive wardrobe and makeup that he will use soon after in the scene. Once Flip enters the home, the camera angle is much closer up, focusing on Billy’s appearance. Diegetic music can be heard providing a soothing tone perfectly matching up with Billy’s outfit. Speaking of this, Billy is dressed in a bright colored dress and makeup resembling a mermaid. This outfit is very important as it shows how Billy views himself, beautiful, graceful, but also mysterious. He lets the viewer see what he claims to be “himself” (Styler). The camera then turns to flip, making his face the focal point of the shot. Through this, the viewer is able to see how Flip reacts to the spectacle he has just witnessed. To the surprise of many, he is not at all taken, instead, he smiles and says how Billy looks awesome. In further revealing aspects of his personality, Billy fires back saying with all of the effort he put
Sex and Gender was the subject of the two movies Dreamworlds 3 and Further Off The Straight & Narrow. In Dreamworlds 3 Sex is portrayed as a status of life and happiness in the media. This media displays people as objects that can be manipulated for sexual pleasure. As the media is populated with sex it tiptoes around gender, specifically that of gays or lesbians. The film Further Off The Straight & Narrow emphasized the movement through media gay and lesbian topics. This text analyzes iconic television programs and how they reflect the societal stance during that time. As a member of a generation that has had the topic of these issues prominent I believe they are important but are banal. In this reflection I will be responding to two questions, what would woman driven Dreamworlds look like? And Do you agree with the statement that if you are not on television you don’t exist?
Social exclusion as mentioned prior to this question is a big factor within the movie. Billy is socially excluded from partaking in ballet because he is a boy. This social exclusion is caused by gender ‘rules’. This social exclusion can impact Billy’s life as he may continue to believe that boys can only do what is considered boys stuff and the same with girls, i.e. boxing is for boys and boys only. This social exclusion may also pose a risk factor towards his health as he may feel depressed or sadden due to this. He has the belief that in order to be a man you must do manly things only and may treat people that want to do ‘girl’ things the same way he was treated. Although, this social exclusion is believed to be a risk factor it may also be seen as being protective of his health. The community may have thought that if he did participate in ballet that he is gay. Calling someone gay when they are not affects them mentally and makes them rethink everything they do in order to not be ‘labelled’ that again. So it was protective of Billy mentally/emotionally in that state but also affected him in other
Led by Laura Mulvey, feminist film critics have discussed the difficulty presented to female spectators by the controlling male gaze and narrative generally found in mainstream film, creating for female spectators a position that forces them into limited choices: "bisexual" identification with active male characters; identification with the passive, often victimized, female characters; or on occasion, identification with a "masculinized" active female character, who is generally punished for her unhealthy behavior. Before discussing recent improvements, it is important to note that a group of Classic Hollywood films regularly offered female spectators positive, female characters who were active in controlling narrative, gazing and desiring: the screwball comedy.
‘Lad flicks’ or ‘lad movies’ is a type of film genre that emerged in the late 1990s. They are defined as a “‘hybrid of “buddy movies”, romantic comedies and “chick flicks”, which centre on the trials and tribulations of a young man as he grows up to become a ‘real man’. ‘Lad flicks’ respond in part to the much-debated ‘crisis in masculinity’” (Benjamin A. Brabon 116). This genre of film explored what it meant to be a ‘real man’ in the twentieth century and in order to do so, they would have to grow up and leave their juvenile ways behind to enter the heterosexual world. Gender relations in ‘lad flicks’ portray masculinity as a troubled, anxious cultural category hiding behind a humorous façade and also rely greatly on a knowing gaze and irony. The two ‘lad flicks’ that will be analyzed are The 40-Year-Old Virgin (Judd Apatow 2005) and Role Models (David Wain 2008).
... homosexual being felt in the world around the 1970’s and 1980’s. The time period in which this play was written was one of great dissonance to the LGBT movement. For Harvey Fierstein to be so bold and public with his own lifestyle was truly admirable and brave. Fierstein shows us that ignorance can destroy a life because of what is unknown.
A large portion of contemporary film and theatre has been lacking in substance. More often than not, we are presented with a “been there, seen that” scenario. One such exception to this rule is Hedwig and the Angry Inch, a film by John Cameron Mitchell that was released in 2001. Set primarily in post-Cold War America, Hedwig is a film that characteristically breaks convention. Our story follows Hedwig, a forgotten and confused homo…trans…well, human being. Growing up in East Berlin during the Cold War, Hansel Schmidt (John Cameron Mitchell) lives what I would call a horrible childhood in the bleak landscape of communist occupied Germany. He falls in love with an American soldier, and undergoes a sex change in order to marry him and leave East Berlin. The operation is botched, leaving him/her as a physical contradiction. Not quite a man, but not yet a woman, Hansel (now Hedwig) has what she describes as an “angry inch.” When describing it in lighter terms, she calls it a “Barbie doll crotch.” Upon arriving in America, the soldier leaves her the same day the Berlin wall comes down. Destroyed, Hedwig spends some time discovering her new self and eventually finds a soul mate in a young boy named Tommy Speck (Michael Pitt). They collaborate musically and romantically, but upon discovering Hedwig’s secret he leaves with all of their music. He becomes a huge rock star, living Hedwig’s dream while simultaneously leaving her in the dust. From then on, Hedwig and her band “The Angry Inch” follow Tommy as he tours the nation while Hedwig tries desperately to gain the notoriety she deserves for her music. Viewing this film through the lens of a feminist gender perspective, I find that Hedwig is a pioneer on the forefront of changing the gende...
...s the idea that these characters are more than the stereotype associated with them, as the audience learns more about them as the episode and show continues. The text challenges our society’s ideas about gender norms because the heterosexual main male character challenges these roles by joining Glee Club. He does this regardless of the social consequences that followed. This episode should stand as a guide for future television shows to better society and break down our harmful ideologies causing barriers between sexualities and individuals. Finally, do not let the “herd take care of it” (Glee).
To begin with, ‘Down Low’ is a phrase that was coined by members of the African American urban culture during late 1980’s which defines gay men who appear to be straight (Hamilton, 2009). Many characteristics of men living on the down low include individuals (who appear as though they are straight) who are sometimes married with children, members of the clergy, elected officials, ex-convicts, and most notable in a number of low-budget and often overlooked films – straight acting thugs (Hamilton, 2009). It is almost virtually impossible to be appreciative of the drama “Angels in America” without having an understanding about the history of the AIDS crisis as well as a more extensive story of lesbians and gays in the United States of America. While men and women have engaged in homosexual conduct in all times and various cultures, it was only in the twentieth centu...
The movie Freaky Friday explores the extent to which a parent and a child understands each other while maintaining a healthy relationship. The movie begins with the mother-daughter relationship between fifteen year old, Anna and her mother Tess who seem to have a rough time understanding each other’s differences. However, after a harsh argument in a Chinese restaurant, they receive strange fortunes that causes an illusion of an earthquake. As a result of these fortunes, when they wake up the next morning, it appears that Anna and Tess have switched bodies. Unable to switch back, they are forced to act as one another until they can accomplish what their fortune read which leads them to better understand each other’s lives. Overall, Freaky Friday focused on parenting styles, types of families and socialization through the process of Anna and Tess trying to comprehend one another.
Works Cited Kane, Matt. “Transgender characters that changed film and television”. Entertainment Media at GLAAD. 12 November 2013. Web.
Film scholar and gender theorist Linda Williams begins her article “Film Bodies: Genre, Gender and Excess,” with an anecdote about a dispute between herself and her son, regarding what is considered “gross,” (727) in films. It is this anecdote that invites her readers to understand the motivations and implications of films that fall under the category of “body” genre, namely, horror films, melodramas, (henceforth referred to as “weepies”) and pornography. Williams explains that, in regards to excess, the constant attempts at “determining where to draw the line,” (727) has inspired her and other theorists alike to question the inspirations, motivations, and implications of these “body genre” films. After her own research and consideration, Williams explains that she believes there is “value in thinking about the form, function, and system of seemingly gratuitous excesses in these three genres,” (728) and she will attempt to prove that these films are excessive on purpose, in order to inspire a collective physical effect on the audience that cannot be experienced when watching other genres.
What constitutes a ‘good’ queer cinema? The question is as ambiguous as the idea of queer theory, which in its actuality is characterized to be “…nothing in particular to which it necessarily refers. It is an identity without a [defined] essence”. The combination of queer theory’s fluid nature and the rather touchy subject of queer history often make it difficult to draw black and white conclusions on what discerns an exceptional queer film from a mediocre one. Blue Is the Warmest Colour, based on a graphic novel by Julie Maroh and directed by Abdellatif Kechiche. closely examines the life of a female protagonist. A quiet schoolgirl with an appreciation for literature, Adèle briefly goes out with a boy whom admires her – partially in an effort to fit in with her group of peers who constantly talk about sex and boys. Finding herself sexually dissatisfied and emotionally heavyhearted, she feels lost until a momentary encounter with a blue haired girl is able to dominate her attention entirely. In the subsequent meetings she has with the girl, Emma, the two soon become intimately involved emotionally and sexually. They engage in a long-term relationship, until Adèle becomes an elementary teacher and Emma is a full-time artist. Feeling distant from Emma and her artistically enriched and intimidating associates, Adèle goes out and sleeps with one of her colleagues. When Emma finds out, the couple go through a savage breakup, leaving Adèle completely alone and grief-stricken. A couple of years later, Adèle is still very much in love with Emma, however Emma has moved on and is in another committed relationship. Sometime later, Adèle attends Emma’s art exhibit, but her hopelessly miserable feelings intensify as the reality of losing Emma ...
Anger can be partly physiological, cognitive, and psychological, and it is also pointedly ideological. Factors such as race, class, gender, sexuality, ethnicity, nation, and religion arouse anger (Kim1). Goldhor-lerner stated that:
The 1990s saw surge of gay characters in both television and movies. From Ellen Degeneres and her character Ellen Morgan coming out under much scrutiny on the TV show ‘Ellen,’ to Julia Roberts and Rupert Everett comedically playing off each other in the motion picture ‘My Best Friend’s Wedding.’ Sure, gays and lesbians have been around forever, especially in Hollywood. But never has there been a time to be more out. With the popularity of shows like Will and Grace, which feature leading gay characters, as well as Dawson’s Creek and it’s supporting character of teenager Jack McPhee, we are slowly seeing gay and lesbian characters creeping into the mainstream media.
On television, I watched characters such as Marco del Rossi and Paige Michalchuk on the Canadian teen-drama Degrassi. These were the first positive experiences I had of what gay culture was like. Of what I saw, I did not feel like I fit into that lifestyle/group. On the other hand, the movie The Matthew Shepard Story shared the violent side of homosexuality’s history in the retelling of Matthew Shepard’s murder.