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To browse Academia. The film follows Alex Claremont-Diaz the son of the US President and Prince Henry the "spare" to the British royal throne and their enemies-to-lovers secret romance, and its mainstream appeal broadens understandings of what gay intimacy can look like. It takes on aspects of the gay rom-com genre that emerged through queer film festivals.

And like gay sex missionary recent gay rom-coms that pitched to the mainstream, it takes on a role to explain gay contexts to nonqueer audiences. Explores the potential of the use of this heteronormative narrative technique in the normalization of homosexuality in film and society.

Both films spatialise intimacy, which is reflected in a formal appeal to monogamous and promiscuous optics. Furthermore, we explore how gay films use form and style to situate both their politics and their spectators through spectacles of erotic relationality. Following Bersani, the article proposes a theory of cinematic optics that privilege the impersonal over the personal, and the ontological over the psychological.

The couple in Weeke A cursory view of Gay films and their importance. While a lot of film studies look at how gay characters are portrayed or depicted in films, this study aims to identify various gay issues presented in select Philippine gay-themed films. Using critical discourse analysis, the two-fold objective in this paper is addressed by surfacing various gay issues presented in a mix of independent indie and mainstream films produced in the Philippines from to Gay issues in these films include themes on representation, acceptance, and rights and protection.

After uncovering the issues and themes in these gay-themed films, the paper explicates the nuances of indie and mainstream films which could affect the selection of gay issues to be presented, how the issues are presented, and which gay sex missionary or sectors are catered to.

These nuances include differences in modes of production, use of technology, and production techniques. Overall, the political economy of media informs the study on the missing discourses about gay representation, identity and agency.

Growing up in the Mormon church, Zaide was told his father was 'the worst thing you could be'

This article analyzes the representation of male same-sex desire in recent films by black Caribbean filmmakers, focusing on the narrative feature-length film Children of Godwritten and directed by Kareem Mortimer, in contrast to the short film Riding Boundariesdirected by Kerry Bovell, produced by Sekou Charles, and featuring poetry by Colin Robinson.

I examine the difficulties in representing same-sex eroticism in the Caribbean because of larger societal concerns—from grappling with homophobic violence and internalized self-hate and shame to the dominant place of religion in Caribbean societies, which dramatically affects any engagement with sexuality.

I focus on male same-sex desire in this article to situate roots of homophobia located at the intersections of misogyny, fear of the erotic and the feminine, and heterosexist patriarchy. Hence, I search for the erotic in these cinematic representations and ask when it is ever possible to imagine and thereby represent the expansiveness of the erotic, of desire, of love outside the bounds of religion, patriarchy, and colonial violence.

Ang Lee's big gay tragic historical love story, Brokeback Mountain, was released internationally in late and early Lee's film told the story of two cowboys who fell in love while shepherding on Brokeback Mountain in Wyoming in Although the film narrated a demonstrably American story, appeals to a socio-historical connection were widespread in Australia.

Indeed, Brokeback Mountain's cinematic release in this country coincided with "Australia Day," a national day of celebration in which beginnings, nationhood, and "settlement" are reaffirmed. In this article, we track the explosion of publicly-audible conversations that took place in Brokeback Mountain's wake in Australia in On the one hand, we seek to historicize this film; on the other, we also consider the political ways in which it historicized.

As the "noise" about Brokeback Mountain became almost impossible to ignore in Australia, we noticed the film tended to be viewed as a cause for celebration. Through an analysis of the politics of historical stories and the gendered politics of emotion, we seek to complicate the notion that this film signified a radical departure from homophobic cinematic and cultural traditions.

This article examines independent cinema's depictions of homosexuality from to Using mainstream Hollywood films of the s as the context for their development, I show significant differences in how homosexuality is represented outside mainstream films. Specifically, I divide independent films into two types: gay and lesbian standpoint films, and queer cinema.

Gay standpoint films are distinguished by their narrative focus on a gay and lesbian subculture, whereas gay sex missionary cinema generally depicts representations of a character's sexuality as decentered. I suggest that if we understand gay and lesbian standpoint films as a response to mainstream Hollywood ones that exclude subcultural depictions, then queer cinema can be seen as a challenge to both gay and lesbian standpoint films, and gay sex missionary Hollywood films that center and normalize homosexual identity.