The Cinesexuals

Gay film work should be sexually candid and realistic and politically critical/ analytic of the forms of gay oppression. If a film is neither, its usefulness to gay liberation can be only accidental.

INTRODUCTION: WILL HOMOSEXUALS BE ADMITTED TO THE CLASSLESS SOCIETY? The prospect of writing on a few gay-oriented films for JUMP CUT has caused me a few tremors of hesitation. There are obvious dangers in blowing one's professional cover (i.e., coming out) in academia in 1977. But there are worse places to come out in than a Faculty of Fine Arts, like a Faculty of Engineering, for example (to indulge in a little of what is called interdisciplinary retaliatory stereotyping). And if a friend of mine in an English department was able, just last year, to seize tenure from the jaws of a board of Catholic priests, things are looking up indeed. There are other more important reasons for my hesitation, which I would like to outline briefly before I get started.

Nevertheless, gays still occasionally get expelled from left party formations. The Venceremos Brigade still won't let us go to Cuba with them. An enthusiastic gay contingent gets ignored and insulted at last summer's 4th of July Coalition, Anti-Bicentennial Rally in Philadelphia. And one still has to deal with such provocations as a position paper recently published by a California-based splinter group that states unequivocally that "homosexuals cannot be communists."

For filmmaker Kit Hung, coming out as a gay man to his family felt like a kind of confession. Hung hails from Hong Kong, where same-sex marriage is not legally recognized. For decades, he has been propelled by LGBTQ+ movements around the world to make his own queerness more visible, even though he wasn’t immediately accepted for his sexuality. That same desire to increase queer visibility is what drove his latest project, Forever 17, and what is driving his new work in New Haven this year.

For Dhont, “Close” began with the realization that images of men fighting have long flooded our screens, becoming the only accepted mode of engagement between them. Seeing men holding on to each other with platonic affection remains a much rarer sight.

“At the age of 13, these boys talk about each other in the most loving, tender, beautiful way,” said Dhont. “These are testimonies of love, and they dare to use that word openly.”

But as the young men went through puberty, their responses to Way’s questions drastically changed. With the codes and pressures of masculinity looming ever larger, they came to see emotion as weakness and to fear being perceived as feminine — often at the expense of authentic connections. It’s precisely around this age that the suicide rate for men becomes four times higher than that for women.

Let's all be adults; this is not a puerile discussion of the male member. We're merely noting that throughout history, while paintings and sculptures have depicted the nude male body with regularity, film has a limited number of offerings (not counting the XXX variety, of course), whereas leading ladies (even Oscar-winning ones) drop cover again and again.

This is a list of live action gay characters in television (includes TV movies and web series). The orientation can be portrayed on-screen, described in the dialogue or mentioned. Roles include lead, main, recurring, supporting, and guest.

This is a list of live action made-for-television films that feature lesbian, gay, bisexual, or transgender characters. The orientation can be portrayed on-screen, described in the dialogue or mentioned. .mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}

Has Disney really been producing enough inspiring content to counteract its donations and lack of a statement?

“Are you and Jade official?" mom Linda Mitchell (voiced by Maya Rudolph) says to her daughter, Katie (Abbi Jacobson). "And will you bring her home for Thanksgiving?”

When kids can’t see people like themselves in books or on the screen, it is easy for them to feel invisible.

Accurate representation helps people feel less alone, especially people from marginalized communities.

Now, 22 years later, with his new film Peter von Kant, Ozon has not only returned to the wellspring of Fassbinder adaptations, but to perhaps his masterpiece; the claustrophobic yet scrupulous chamber drama The Bitter Tears of Petra von Kant (1972). However, whereas Fassbinder’s film was laced with the powerplays between a group of women caught in each other’s toxic orbit, Ozon seems determined to bend Fassbinder’s 1970’s-set narrative in a different direction, not least through the gender-swapping of the titular character and his new romantic obsession.

The clips of Pascal are absolutely everything we could have ever wanted. In them, Pascal’s character Greg gives us a dozen perfectly quotable quips, including: “Maybe he’s still adjusting to being out, not everyone can be ‘Mr. Gay Pride,’” “Please, either you’re gay or you're not, period,” “I’ll make cookies,” “Gay, with a weird fetish,” “And find a better place to hide your porn, buddy.” And perhaps best of all: “The point is, we’re gay.”