According to Epstein and Friedman, the engagement of America’s film industry with ho- mosexuality in general has always been a sensitive issue and still is up to today. Although quite a few people working in Hollywood, “in all aspects of moviemaking, from producing to performing”, are openly homosexual, the industry’s main players are still reluctant to intensively approach this “prime phobia in Hollywood” (Hilliard 9).
From the first signs of homosexuality in Dickson’s “Dickson Experimental Sound film” (1895) over to the restrictive Hays Code in the 30s on to influential modern movies such as Demme’s Philadelphia (1993) or Lee’s Brokeback Mountain (2005), there are plenty of examples of Hollywood’s varying engagement with homosexual issues.
In the course of this paper, I will not only analyze the depiction of homosexuality in these movies, but also describe society’s reactions to these works. Of course, there have been harsh reactions to movies presenting homosexuality not as something to be feared of. Especially Christian groups have always blamed respective movies for depicting “deviant” behavior, as well as conservative politicians and media.
Table of Contents
1. Introduction
2. Hollywood’s “Gay History”
3. The Western: Where Homosexuality Did Not Exist
3.1. Of Masculinity and Other Values
3.2. The Depiction of Male Relations
4. Ang Lee’s Brokeback Mountain: An “Anti-Western” Western
4.1 A Western or Not?
4.2 The Depiction of Homosexuality
4.3 Societal Reception
5. Conclusion
6. Bibliography
Research Objectives and Themes
The paper aims to examine the ambivalent representation of homosexuality in US-American cinema throughout history, specifically focusing on the intersection between the film industry, societal values, and the constraints of the Western genre.
- The evolution of homosexual archetypes and stereotypes in Hollywood films.
- The influence of industry-led self-censorship, specifically the Hays Code, on cinematic narratives.
- The role of the Western genre as a traditional bastion of conservative, heteronormative masculinity.
- A critical analysis of Ang Lee’s Brokeback Mountain as a subversive "Anti-Western."
- The sociopolitical reaction of American society, particularly religious groups, toward portrayals of queer themes.
Excerpt from the Book
3.2 The Depiction of Male Relations
As mentioned above, male love relationships have never been a topic in the Western genre. Nevertheless, one famous hint for it does exist. In a scene of Hawks’ Red River (1948), actors Montgomery Clift (Garth) and John Ireland (Valance) obviously talk about the sexuality of the gun when comparing their revolvers. Probably being invisible to contemporary censors, the scene has an obvious homosexual undertone as the characters compare their guns in a quite sensitive pattern:
VALANCE. […] That’s a good-looking gun you were about to use back there. Can I see it?
(gets his gun out) Maybe you’d like to see mine?
(touches GARTH’s gun softly) Nice. Awful nice.
(observes the gun intensively) There are only two things more beautiful than a good gun: a Swiss watch or a woman from anywhere. You ever had a good Swiss watch?
GARTH. Go ahead. Try it. (starts to shoot a can moving)
VALANCE. Hey, that’s very good. (starts as well)
GARTH. Hey, hey. That’s good too. Go on. Keep it going. (00:27:57)
Apart from this one scene, hints for homosexuality cannot be found in classical Western movies. Nonetheless, non-sexual relationships between men have always been playing an important role in the genre due to the absence of strong female characters.
Summary of Chapters
1. Introduction: The introduction outlines the historical marginalization of homosexuality in Hollywood and establishes the paper's aim to analyze the tension between film narratives and societal reactions.
2. Hollywood’s “Gay History”: This chapter traces the evolution of gay representations in early cinema, moving from the "Sissy" stereotype to the covert signaling permitted under strict censorship regimes like the Hays Code.
3. The Western: Where Homosexuality Did Not Exist: This section examines how the Western genre established rigid standards of American masculinity that fundamentally excluded and opposed queer identities.
3.1. Of Masculinity and Other Values: This chapter focuses on how the Western film genre constructed an ideal of the "loner" cowboy, rooted in the history of the Wild West and used to define manhood.
3.2. The Depiction of Male Relations: This chapter analyzes how, despite the absence of overt homosexuality, the genre relies heavily on male-centric relationships and codes of conduct in the absence of women.
4. Ang Lee’s Brokeback Mountain: An “Anti-Western” Western: This chapter positions Brokeback Mountain as a groundbreaking work that utilizes traditional Western motifs while simultaneously subverting them.
4.1 A Western or Not?: This section discusses the classification of Brokeback Mountain, arguing that it is both a homage to and a destruction of the classical Western tradition.
4.2 The Depiction of Homosexuality: This chapter looks at how the film portrays homosexual characters as masculine and relatable, challenging previous cinematic clichés of effeminacy.
4.3 Societal Reception: This chapter explores the polarized response to the film, detailing how religious and conservative groups viewed the work as an attack on traditional morality.
5. Conclusion: The conclusion summarizes the paper's findings, reiterating that film serves as a mirror to society's evolving, yet often fraught, relationship with homosexuality.
6. Bibliography: This section lists the primary films and secondary academic sources used throughout the paper.
Keywords
Hollywood, Homosexuality, Western, Brokeback Mountain, Hays Code, Masculinity, Gender roles, Cinematic representation, Societal reaction, Queer cinema, Censorship, John Wayne, Heteronormativity, Stereotypes, Film history
Frequently Asked Questions
What is the central focus of this academic paper?
The paper explores the historical depiction of homosexuality in US-American cinema and how these representations have been received by society, with a particular focus on the Western genre.
Which specific film serves as the primary case study for the analysis?
The study centers on Ang Lee’s 2005 film Brokeback Mountain as a critical landmark in the progression of queer representation in Hollywood.
What is the core research question or objective?
The objective is to survey how Hollywood’s engagement with homosexuality has evolved and to analyze how the conservative values inherent in the Western genre have acted as a counter-force to these portrayals.
What methodology does the author employ?
The author uses a qualitative film analysis approach, comparing early 20th-century stereotypes and censorship-era filmmaking with modern portrayals, while situating these films within their specific socio-political contexts.
What topics are covered in the main body of the text?
The text covers the history of gay archetypes (like the "Sissy"), the impact of the Hays Code, the rigid masculine norms of the Western, and the public/religious backlash against queer-themed films.
Which keywords best characterize the research?
The work is defined by concepts such as cinematic masculinity, the Hays Code, the "Anti-Western," societal homophobia, and the evolution of gay stock characters.
How did the Hays Code influence the depiction of homosexual characters?
The Hays Code forced filmmakers to hide queer content, leading to "subtle occurrences" or "between the lines" narratives that could only be deciphered by a knowing, covert audience.
How does the author define the "Anti-Western" in relation to Brokeback Mountain?
The author defines it as a film that simultaneously honors the aesthetic and structural motifs of the classic Western while deconstructing the myth of the inherently "straight" cowboy.
What role does the American Christian influence play in the societal reception of these films?
The author argues that because a large percentage of Americans identify with Christian churches, religious groups exert significant pressure and influence on the reception and public debate surrounding films that feature gay themes.
- Quote paper
- Simon Brandl (Author), 2012, The Depiction of Homosexuality in US-American Movies and Its Reception in Society, Munich, GRIN Verlag, https://www.grin.com/document/337201
