Gay Head Lighthoe, Massachetts at

Contents:

• WHY THE GAY SUBPLOTS ‘THE LIGHTHOE’ AND ‘JOJO RABB’ DON’T GO FAR ENOUGH
• GAY HEAD LIGHT
• GAY HEAD LIGHTHOE
• GAY HEAD LIGHTHOE
• HISTORIC GAY HEAD LIGHTHOE ON THE MOVE
• GAY HEAD LIGHTHOE MOVE IS PLETE

WHY THE GAY SUBPLOTS ‘THE LIGHTHOE’ AND ‘JOJO RABB’ DON’T GO FAR ENOUGH

Take, for stance, Jennifer Kent’s The Babadook, which the tular boogeyman n be read as an allegory for a mother’s grief and trma, or A Nightmare on Elm Street 2: Freddy’s Revenge, which not so subtly hts at the protagonist beg gay. While the dynamic between the film’s two lighthoe keepers seems to be more hate-hate than love-hate, Eggers’ psychelic imagery, the psdo-domtic edy between the two lighthoe keepers, and the homoerotic overton monstrate how The Lighthoe is actually a queer romance. But their fal nontatn, this vlence tak on overtly homoerotic ton.

GAY HEAD LIGHT

To me, this film is so clearly gay that an analysis of s homoerotic subtext would be like argug the sky is blue. Perhaps I’ve e acctomed to clarg everythg gay, but this one seemed too obv to miss.

And so, let’s talk about how gay The Lighthoe really is. Now lookg at the characters, n be pretty heavily suggted that Tommy is gay and, given the tim, closeted. Durg the long, lonely nights, Tommy attempts to distract his gay sir and fds solace a mermaid statue, g this salt water temptrs as spiratn for his “alone time”.

Tommy is ultimately aghast by this homoerotic shift, but the dience is not.

GAY HEAD LIGHTHOE

However, this terpretatn don’t hr the homoerotic subtext, if anythg they work harmony.

The Lighthoe is overflowg wh gay subtext, om the tenr dancg scene shared between Tom and Tommy, to the il arguments between them that play out like a dnk hband and upset hoewife (“Yer fond of me lobster, a’t ye?

GAY HEAD LIGHTHOE

Ignorg the gay subtext this film lims the pure brilliance of The Lighthoe. Historilly, the genre of horror is a bounty of gay subtext and this film livers wav! Both have ndidly discsed sual, heterosexual terurse already, but nothg so explicly homoerotic.

Ccially, is not the homoeroticism that his slippage, but his refal to accept and acknowledge .

The somewhat homoerotic subtext is very clear to me this movie, and I thk that the ia of reprsed sexualy to really help enforce the ia that Wslow is stgglg very much wh his over all inty. I thk this also highlights that Wslow is unfortable wh his inty (first wh his inty as a murr and then his stggle to pe wh homosexual thoughts). Both movi e om wildly ventive filmmakers wh styl so specific their films n feel like their own mi-genr, but they share half-baked gay subtexts that fall short of their amb visns.

HISTORIC GAY HEAD LIGHTHOE ON THE MOVE

In a story about two men on a serted island, the homoeroticism is practilly baked to the log-le. ” But a foppish Hler is the least of Wai’s troubl — the real homoeroticism to play wh Sam Rockwell’s character.

(Wai don’t even beg to addrs that the Nazis were sendg gay people to ncentratn mps. The movie’s “exclively gay moment” may be lour than the one “The Lighthoe, ” but ’s far more problematic, as Wai plays for edic affect to generate sympathy for his characters — queerns as shorthand for humany.

Of urse, neher Wai or Eggers are gay, which is not to say straight filmmakers n’t or shouldn’t e queer elements their work.

GAY HEAD LIGHTHOE MOVE IS PLETE

Another challengg nsiratn was the social, enomic, and staable velopment of the Gay Head Lighthoe project.