The Evolution of Queer Representation in Film

In 1970, the mainstream media was shocked and intrigued by the release of the film The Boys in the Band. Based on the play of the same name, the movie received a widely positive reception, beginning to set a standard for a Queer presence, not just on stage or in recording studios, but on the silver screen as well. Despite the early presence of gender-bending and some queer representation in previous films (these portrayals mostly comprised of either blatantly homophobic or just poorly done characters of queer individuals), The Boys in the Band established a new norm. Allowing mainstream audiences to see the lives, the ups and downs, and the struggles of queer individuals rather than stereotypes allowed new doors to be opened up for queer representation on the big screen. Though the film was criticized for its “unhappy and miserable” portrayal of the lives of gay and bisexual men, these doors opened regardless. 

The 1970s were filled with new queer films that were marketed toward the mainstream liberal audience, slowly closing the gap between the mainstream and queer media. Fortune and Men’s Eyes (1971), A Very Natural Thing (1973), Something for Everyone (1970), and my personal favorite from this era of film, Cabaret (1972) starring Alan Cummings as the titular, and ever queer, Emcee role, all contributed to this era of queer identities being depicted in media, without hate or spite behind them. 

The 1980s brought an onslaught of queer representation that was filled to the brim, with white, middle-class men battling AIDS. Though this representation was important, and very necessary in battling the negative reception gay and queer individuals were receiving during this era, it narrowed the already narrow expectation of queer identities, showcasing only the white, wealthy, perspectives of being a queer, male, cis-person during this terrifying time.  

The 1990s film scene both embraced and rejected this cis-white ideal of queerness. With the release of Paris is Burning (1991) which was a rejection of the cis-white norm within queer spaces, showcasing the ins and outs of the ballroom community, and Watermelon Woman (1996) being released shortly after the white-cis-lesbian film Go Fish’s(1994) release almost directly combatted each other, with Watermelon Woman (1996) depicted the life and struggles of a queer black woman. The Bird Cage, also a 1996 release, managed to showcase queerness in both a comedic, and positive light, with two mainstream actors (Nathan Lane and Robin Williams) taking the screen as a married couple attempting to navigate their sons' new relationship while simultaneously attempting to “play-straight”. 

Finally, the 2000s arrived, and again, this cis-white narrative was simultaneously upheld and bashed. In 2005 one of the, arguably, most famous queer films was released - Brokeback Mountain. The two leads, Jake Gyllenhaal and Heath Ledger produced one of the most heartfelt and honest portrayals of a gay relationship, all while setting the scene in a cowboy aesthetic. The film, while still following the cis-straight rule of representation that mainstream media tends to follow, broke down barriers for queer representation on screen, showcasing that anyone, even cowboys, can be gay. One of my personal favorite queer films to come from this decade is Hedwig and the Angry Inch (2001) tells the story of a German immigrant living in Kansas, of all places, that has to live with a failed sex reassignment surgery. The film follows the heartbreaking, and impressively musical, story of Hedwig in her journey for love, fame, and self-acceptance. 

Now, in the 2010s and 2020s, the rise of queer media has brought a seemingly never-ending wave of queer representation on screens everywhere. The acceptance of queerness has become so expected that even all pleasing mega corporations (Disney, I’m looking at you) have begun to slip queer representation into their films. Even though queer representation and acceptance still have a very, very, very, long way to go in our mainstream media, and within cultures globally, the films discussed in this article had a great impact on the way queer individuals are viewed. A few of my favorites will be listed below, I hope you enjoy! 

1. Bottoms (2023)

2. Drive Away Dolls (2023)

3. The Haunting of Hill House (2018) (not a movie but still)

4. Across the Universe (2007)

5. It: Chapter 2 (2019)

6. Jennifer’s Body (2009)

7. The Craft (1996) and Newsies (1992) (neither are technically gay but… c’mon…)

8. But I’m a Cheerleader (1999)

Written by Lucy Anderson

Photography by Aj Ult

Creative Director: Sophia Querrazzi

Production Manager: Mark Bluemle

Talent: Rain Mercado, Marc Semana, Walker Burdine, Tahj White

In Defense of Sexual Taboos On Screen

I am a loud and proud self-proclaimed pervert. I was there for May December’s opening weekend. Jane Campion is one of my most favorite filmmakers, and I think Mary Gaitskill is an American hero. You’d think fifty-six years out from the Hays code’s extinction we’d be a more open-minded, freaky little weirdo accepting culture. But with the rise of sex scene discourse and literary censorship, it appears that the culture at large is becoming increasingly moralistic in its views on media. There’s nothing wrong with approaching art critically, but I’d argue that we’ve moved away from cultural sensitivity and into morality policing. 

If sex scenes in general seem to be loathed more and more every day, sexually transgressive cinema, your Crashes, and The Piano Teachers, ​​are a dying breed these days. This isn’t to say that taboo sex onscreen was more acceptable in previous years, (You Must Remember This’ episode on the nineties Lolita craze is a great exploration of America’s former relationship with taboo), however, the film market was much more diverse in the 1990s than it is now. Most twentieth-century erotic and psychosexual thrillers were mid-budget to indie projects, meaning that they were cheaper to produce. In the golden age of the erotic thriller circa the late 80s and early 90s, the amount of sexually taboo films being released made the controversy around them less dire because they were more common. In a media landscape dominated by superhero movies and legacy sequels, the release of something like Challengers feels substantial because there simply aren’t that many movies like that being funded anymore. On top of this, the barrier to art criticism is becoming increasingly lower.

The internet has drastically changed the culture since its boom in the last 20-30 years. Social media has made it so anyone with a brain can unleash their varied opinions on the world wide web, whether it's warranted or not. In the 20th century, the discussion around cinematic taboos was managed by critics. The discourse was born out of analysis and a genuine desire to start a conversation about the things we were seeing in the media. These days, anyone with a Twitter account can scream their hot takes until they're blue in the face. Obviously, meritocracy is bad, but there’s something to be said about letting qualified people talk about what they’ve spent actual time and effort into understanding. On top of this, more and more people are basing their opinions on art from a moralistic viewpoint, rather than a cultural or artistic one. It’s become less about dissecting what art means to a person and more about finding out who is the secret problematic guy whose opinions are indicative of their badness. 

There are a million reasons why I could defend transgressive art. One is that it’s cathartic. When we consume art that portrays immorality, it allows us to confront our own capacity for such a thing. It also has the power to normalize fringe identities which can allow for cringe culture to become obsolete. But more than anything, sexual taboos on screen are fun to interact with. I like being challenged. I value being uncomfortable. Watching a film like Titane and being allowed to leave cultural norms at the door is exciting, and I’ve become disheartened by the way we’ve started policing our interaction with explicit material. Instead of meeting art on a human level, we’ve been conditioning ourselves to view every piece of taboo art with a moral compulsion. You can’t enjoy a film that depicts immorality, you have to acknowledge what it’s portraying is objectively and morally wrong at all times. This is what happened with May December, in my opinion. So many people viewed the film from the perspective that it's inarguably a horror film purely because it features childhood sexual abuse. Thus, they failed to realize that it’s actually a very funny movie and is encouraging you to laugh at it when warranted. Look at me and tell me Julianne Moore’s hushed, lispy exclamation of “It’s graduation!” after Joe finally calls her out isn’t hilarious. Is it unbearably awkward and at times horrifying? Yes. But it’s not a children’s fable. I can’t imagine watching every movie from this mindset. It’s just so depressing. How would you enjoy anything? And more importantly, how would you grow? Art is meant to challenge us. If you meant every piece of art with the idea that you’re holier than thou, then you wouldn’t learn anything from it. If anything, you’d be stuck. This might sound obnoxious, but I think it must be said: that art isn’t real. You’re not hurting anyone by consuming “problematic” media. Just because it depicts something you, and most people, disagree with doesn’t mean you’re suddenly endorsing it by consuming it. You just might learn something about yourself through such media. Live a little. I promise you won’t become an unequivocally evil person if you go into sexually transgressive films with an open mind. 

I love filth, mess, degeneracy, and anything that makes me feel something strongly whether it’s positive or negative. The world needs sexually taboo art to remind us that being confronted with things we wouldn’t interact with in our daily lives is healthy. Censorship is becoming all too popular these days thanks to a myriad of reasons, from conservatism to cancel culture. As a culture, we shouldn’t further this narrative as we risk ousting others for simply engaging with deviant works. Art that elicits emotion, any emotion, is all the more valuable in a post-superhero movie world. The only alternative to banning explicit material is inoffensive content made for mass appeal. Despite the universality of such media, no one wins in that case except for the suits producing them. If you’re in the mood for some transgression, I’ll leave a list of some great sexually taboo films below. Enjoy!

- Holy Smoke, 1999 dir. Jane Campion

- Notes on a Scandal, 2006 dir. Richard Eyre

- Birth, 2004 dir. Jonathan Glazer

- The Piano Teacher, 2001 dir. Michael Haneke

- Titane, 2021 dir. Julia Ducournau

- Dogtooth, 2009 dir. Yorgos Lanthimos

- Tabloid, 2010 dir. Errol Morris

- The House of Yes, 1997 dir. Mark Waters

- Sanctuary, 2022 dir. Zachary Wigon

Written by Grace Bradley

Photography by AJ Ult

Creative Director, Production Manager: Jazzi Almestica

PA: Rain Mercado

Styled by Jaiden Alexis

Talent: Cecil Atkins and John Rodriguez

Embracing Uncertainty

I don’t really know how it happened, but in the past three years I’ve managed to surround myself with people who have taught me more about myself than anything my eighteen years in Florida taught me. Being comfortable in one’s own skin is not an easy feat but it’s proven to be a little more bearable when surrounded by good company. In a city as big as NYC I’ve been able to mess up and start over without the guilt of not being perfect on the first try.

I’m learning to accept that there is not a certain way to look queer even when I feel my looks may fall flat compared to those who have been “out” for a while. But in the process of breaking down these barriers I have unintentionally found myself behind new ones. I feel as though people look at me for guidance in situations like these since I am pretty good at pretending I know the answers. (I do not.) Nonetheless, I have found spaces that have made me feel seen and heard and formed relationships with people who are willing to listen to my fears and concerns about my identity.

It’s how I know real love exists. True, deep, intentional connections are finally tangible to me because of the queer communities I am so fortunate to be a part of. It definitely took me a while to find these connections but now that I have them, I know I cannot let them go. 

Being authentic and real with myself has healed parts of me that I didn’t know were broken and it has also ripped open other parts of me that I didn’t know could tear. But more often than not I am grateful. I know how lucky I am to be able to live in my identity at all.

To be able to make mistakes and still be loved by those most important to me. To be able to change my mind and attempt to find words to describe what and who I am. 

Within all the confusion I am finding peace, and weirdly, not knowing has given me all the confidence I need. Certainty was my downfall and the catalyst of my anxiety, so I have released what I may never know and I am accepting the unknown.

Written and Photographed by Diana Victoria

Production Manager: Jazzi Almestica

Creative Directors: Jazzi Almestica, Diana Victoria

PA: Chloe-Kaleah Stewart

Talent: Atley Lawrence, Chloe-Kaleah Stewart