1 of 1

Write now Article Tools

Page 2 of 2

a male counterpart (Sarah Conner Chronicles). LGBTQ characters turn up, even in leading roles (Will and Grace, Queer as Folk, The L World, Nip/Tuck, Six Feet Under to name a few). However, the wider range of characters in television is not translating to movies, presumably because it's a bigger financial risk.

But I have to wonder why studios are so reluctant to greenlight more mainstream movies of any particular genre when Brokeback, a quiet, gently paced film, earned a fortune and acclaim (not to mention the success of LGBTQ characters in TV). This is Hollywoodthe place that thrives on copying success. Producers and financiers should be busting down the doors of writers with queer tales to tell. By comparison, as Vary pointed out, one good musical (Chicago) inspired others, and one hit urban drama (Boyz in the Hood) brought plenty of copycats. You can almost hear the brakes squeal as studios put away the scripts and mutter, "Wellthis isn't the right time"

How far has LGBTQ images in movies progressed since the days of coding? Coding took place in the days of yore where a film needed approval from studio censors and the infamous Hays regime in order to get approval for distribution. The scripts and films would literally be purged of "pansy" indicators (such as directive saying, "There should be no pansy' gags"). Except great queer filmmakers like James Whale knew how to weave queer "sensibilities" into a film, in means that escaped the censors' limited knowledge of queer culture. Some examples of significant queer coding, according to author Harry Benshoff (Monsters in the Closet) is The Old Dark House, Daughter of Dracula, The Ghost Ship and various Frankenstein movies.

Coding was an art in itself by the right creator, a secret language. But coding is no longer really present in Hollywood. Instead, there is an arguably more unpleasant practice of semiotic symbolismequaling a person of sexual otherness to dubious morals or outright evil (Silence of the Lambs, or Basic Instinct). Or, of course, the classic, waaaaaay too classic sexless best friend persona. And, needless to say, homophobia still exists. For every Brokeback Mountain, or revelation that Dumbledore is gay, there is the lead character in Juno telling Jason Bateman that his choice of name was so gay. This is a true slap in the face for a film that portrays the lead character as so brave and in tune with otherness. Why then, does the screenwriter Diablo Cody, also indentifying with otherness, have her heroine choose offensive slang (she's also ignorant towards Asians while we're at it)?

I guess progressive audiences are supposed to lighten up and be grateful for what few characters do appear. Apparently, as the 10-15 % of the population, what the queer community gets are really good mainstream movie characters every corresponding 10-15 years. However, it is long past due to start producing mainstream movies with matter-of-fact queer characters.

Learn more about this author, M.C. Mircea.
Click here to send this author comments or questions.

• << previous page
• 1
• 2

Add your voice

Know something about Is Hollywood moving away from gay characters in mainstream movies??
We want to hear your view. Write now!