Horror has a rocky track record with queer representation, particularly in terms of portraying “deviant” identities as monstrous. Films such as Dracula’s Daughter (1936), The Silence of the Lambs (1991), and High Tension (2002) portray gay characters as predatory figures who seek to kidnap and kill; in these films, their sexuality is what drives them to such violence. The horror films of the 1980s and 1990s try to deal with the fear of AIDS with films about the body in pain. And then of course there is the rampant amount of queer subtext that fills the genre, either written in by filmmakers or found with the horror community. Horror films are often seen as a genre for deviants, a place to find comfort and power within monstrous identity. This is a queer genre, through and through.
With all of that in mind, we’ve compiled a list of some of horror’s best LGBTQIA+ films with more explicit, and mostly positive, representation.
Continue reading “Pride Month is a Scream: 10 of Horror’s Best Queer Movies”
Gentleman Jack (2019) makes me feel that my life is possible. As a long-time fan of Sally Wainwright, I trusted her to do justice to Anne Lister’s diaries. My expectations were high, but after having been let down time and time again by most lesbian-centered representations, they were still within reason. Before the series premiered, I expected a brilliant portrayal of Lister – one that is done with respect and empathy. However, on the topic of lesbian sexuality, I had far less hopes. Imagine my surprise when I found out that Gentleman Jack unabashedly delights in including its lesbian audience, and revels in speaking only to lesbians. The series goes beyond merely portraying lesbians on the screen, and takes lesbian representation a notch further by being unapologetic about its depiction of lesbian desire, lesbian sex, and lesbian mannerisms.
Just as the real Anne Lister was proud of her ability to seduce women, Lister’s fourth-wall breaks in the series seduces the audience, charms them with her wit, and most importantly of all – remind lesbians that we have always existed. In-between 200 years ago and now where our lives have been violently annihilated by virtue of homophobic cruelty, we always have existed, and we continue to exist.
Continue reading “‘Gentleman Jack’ Celebrates Lesbian Existence, Bravery, and Love”
Horror is gay. It’s a genre about, among other things, destroying societal conceptions of heteronormativity and domesticity. Gay horror fans like myself see ourselves in these narratives about monstrosity and “otherness” and take hold of them, making them our own. In his book, Queer Horror Film and Television: Sexuality and Masculinity at the Margins, Darren Elliott-Smith says, “…the study of monstrous homosexuality in the horror film has also revealed the celebratory pleasures offered to queer, gay and lesbian viewers’ oppositional identification with the very same monsters that threaten the norm.” Our identities threaten heteronormativity and we cheer on those monsters that do the same. Horror is not only about queerness, but is shaped by queerness, with LGBTQ+ directors, like Clive Barker and Don Manici, creating horror classics such as Hellraiser and Child’s Play, respectively.
While gay horror directors and fanatics have helped shape horror film, their work is eclipsed by toxic tropes created to “other” LGBTQ+ characters and make them into villains. Horror ultimately reflects societal fears and for much of recent history, society has been afraid of gayness and the threat it poses heteronormative conceptions of family and relationships. While our current cultural context is evolving into a slightly more accepting one, this genre has perpetuated toxic tropes, two of which that I’ll discuss here, that depict LGBTQ+ characters as deviant, horrific monsters.
Continue reading “Horror Film’s Terrifyingly Harmful Use of Queer Tropes”