There’s nothg wrong wh beg gay, but there are still many rotten eggs who throw around slurs and ll people gay mdlsly, so helps to know what to say when someone lls you gay.
Contents:
- CHAPTER 2 – QUEERS AND DYK THE DARK: CLASSIC, NOIR & HORROR CEMA’S COD GAY CHARACTERS:
- 34 OF THE BT RPONS WHEN SOMEONE ASSUM AND CALLS YOU GAY
CHAPTER 2 – QUEERS AND DYK THE DARK: CLASSIC, NOIR & HORROR CEMA’S COD GAY CHARACTERS:
* call her savage gay *
This is a good example of the kd of pre- film that was so shockg that they cid to impose a strict censorship on all Hollywood movi, forbiddg them om showg vlence, nudy, sex, homosexualy, romance between people of different rac, and much more. Call Her Savage is known for beg the first film to show the brand new Empire State buildg and the first time a gay baret was shown a sound film. While the Co did not explicly state that pictns of homosexualy were agast the Co, the Co barred the pictn of any kd of sexual perversn or viance, which homosexualy fell unr at the time.
” There was a much longer list of ‘Be refuls’ which dited was offensive to “show sympathy for crimals, ” “arson, ” “surgil operatns, ” “excsive or ltful kissg” and of urse “HOMOSEXUALITY. Unr prsure om the Catholic Church and other relig groups, the Motn Picture Productn Co ma so that any margal gay characters beme masked nuendo, relyg on queer symbolism stead. Deprsn-era cema exhibed gay characters, but generally small parts and often ed for ic purpos that managed to cue dienc , wh rol that were dified and readable as queer.
Movi alt ankly or were suggtive of sexual nuendo, sexual relatnships between rac, d profany, dg e, promiscuy, prostutn, fily, abortn, tense vlence, and of urse, homosexualy. Yet durg the silent era to the mid-thirti, gay characters were illtrated as stereotyp showsg the popular trop tablished by nventnal hetero-normative genr bias.
34 OF THE BT RPONS WHEN SOMEONE ASSUM AND CALLS YOU GAY
Real-life queers of the Deprsn era and later perds were exposed to cematic imag, the vast majory beg ritured which gays and lbians were often prented as targets of ridicule and ntempt for their dive nce. In Michael Curtiz’s The Strange Love of Molly Louva (1932) Sudnly, queer imagery film, typilly the form of il reprentatns of gay men, lbians, and ambiguo sexualy, did not seem so funny any-more, least of all to those charged wh applyg Hollywood’s Productn Co to film ntent. In the late 1930s and 1940s the only way to circumvent the Co was by patg homosexuals as ld-hearted villas (The Celluloid Closet).