Were thelma and louise gay
Gay Themes
Bill_san_Antonio (Bill san Antonio) 1
There was some discussion about gay themes in Adios Sabata on the SWWB a while ago. Personally I’m not sure what to think about this film except that Yul Brunner and some other guys wear costumes out of Village People’s wardrobe. ;D
But I came to think other spaghetti westerns with obvious gay characters. The most obvious is of course the gay cowboy gang in Django Kill! Also Nino Castelnuovo in Massacre Time and my favorite gay couple in sw’s: George Hilton and Klaus Kinski who have very twisted relationship in Ruthless Four. Some own even suggested that there’s something sexual between Nino and El Chuncho in Bullet for the General.
There must be others too but can’t remember more right now. What do you deliberate of the subject? Why did they include so many gay themes in spaghetti westerns?
Cian (Cian) 2
I don’t think they were being deliberately gay (apart from Django kill of course). I think the costumes only arrive gay retrospectively years later. I mean, look at what common people were wearing in the 60’s and 70’s
Thelma & Louise is a Queer Love StoryYou Just Have to Look For It
The classic verb Thelma & Louise is more than a contemporary, female-dominant version of Bonnie and Clyde. While upon first glance many viewers may think that the film is simply a story of loyal friendship, when watching the film through a queer analytic lens it is evident that Thelma and Louise in truth share a special and queerly intimate relationship. This is obvious only when considering the subtext in the film, as the dominant narrative reads platonic. The women’s adherence to the stereotypical lesbian trope of a masculine and femme female pairing as well as the choice to leave their male partners for each other solidifies that Thelma and Louise are more than platonic friends; they are lovers.
Thelma & Louise – An Queer Love Story (LGBT domination)
While Thelma & Louise is filmed in a heteronormative context, it is important to consider how non-mainstream, or that is to exclaim, queer, non-heteronormative audiences may examine the film. Because we are assumed straight until proven otherwise, no
Bijou Film Board
By Kat Trout
As a lesbian who aspires to be a filmmaker, I have always questioned my relationship with film. How do I go into something that has hidden my community for so long? How undertake I embrace film when it only recently openly embraced me? It was while watching Cheryl Dunye’s The Watermelon Woman I realized my answer. In The Watermelon Woman, when Cheryl and Diana first meet in the video store, they identify each other as potential partners by name dropping Ridley Scott’s sci-fi classic Alien. Rather than explicitly name their queerness, they understood it through the implications of interest. I realized through this scene how cinema has become a way for queer folk to safely identify each other. Alien, Aliens,What Ever Happened to Baby Jane, Mommie Dearest, and so forth have become classics in the queer community despite not openly telling LGBT+ stories. Ridley Scott’s film Thelma and Louise is among these films, perhaps being one of the most iconic queer-claimed films in cinema history. The ending of Thelma and Louise makes the film a
Gayest movies that are&#;nt actually about being gay
Classic movies had to be very careful about any suggestion of other than vanilla sexuality, so a lot of it is in the subtext. I remember watching WORDS AND MUSIC () when I was really young. This is the bio-pic about Rogers and Hart, but it never said anything about Lorenz Hart being gay. I just remember in the movie that he seemed to be obsessed with shoes--in an ominous manner that hinted at some dark secret about the man. That told me that society looks down on men who show any interest in shoes--so I&#;ve always been watchful when I go by a shoe store, not to exhibit any excitement, for fear of becoming a social pariah.
There&#;s also the weird man on man sexuality in SPARTACUS (). And in Douglas Sirk movies, starring Rock Hudson, they hinted at Rock&#;s sexuality in an allegorical way. Rock&#;s character invariably finds the companionship of an older woman in the Sirk movies--a maternal protector who keeps his secrets.
It makes sense for old Hollywood to tip-toe around LGBTQ content, given the repression of the time, but