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The aims of the present research were to evaluate the preliminary psychometric properties of a new measure for evaluating teachers' attitudes towards the representation of homosexuality in film and television, and to explore the association between moral disengagement and teachers' negative attitudes towards homosexual representations. Participants were 241 Italian primary and secondary school teachers. The new self-report measure comprises 14 items or 8 items (brief version) scored on a 5-point Likert scale. Teachers completed three instruments: the new measure created to capture participants' social and emotional evaluations of homosexuality in film and television, the latent and manifest prejudice scale, and the Italian moral disengagement scale. Exploratory factor analysis of the new measure suggested a single factor. The results demonstrated that the measure had satisfactory construct and convergent validity and reliability. Finally, we identified how teachers' dehumanization of victims and euphemistic labelling were positively associated with their negative attitudes towards representations of homosexuality. [ABSTRACT FROM AUTHOR]

Modern audiences and critics are fascinated by Anders als die Andern (1919), widely considered the first feature film to focus on a homosexual relationship. The film is as exceptional for its progressive plot as it is for its miraculous survival – a large fragment of the film survived because it was hidden from the Nazis within another film. Even so, upon closer examination, it is clear that there are many misogynistic aspects of Anders that mirror elements and themes found in other Weimar films. While Anders is certainly novel in its queer subject matter, the film remains profoundly influenced by the patriarchal forces that dominated Weimar culture. [ABSTRACT FROM AUTHOR]

In the 1960s, Australia's film censorship system became the subject of heated debate, leading to significant legislative reforms in the early 1970s. Among the reforms was a new, legally enforceable R rating that banned entry to specific films for anyone under eighteen years of age. Assured that depictions of homosexuality would not be seen by children, Australian censors allowed a range of films that had previously been banned to appear at local cinemas, including The Boys in the Band (1970) and The Gay Deceivers (1969). Gay and lesbian activists had reason to celebrate increased access to homosexual stories on screen. The reforms equally conformed, however, to an argument often made by conservative commentators, that information about gay and lesbian life was inherently harmful to children. [ABSTRACT FROM AUTHOR]

During the Francoist dictatorship, censorship and heterosocial heteronormativity hindered the filmic representation of gender and sexuality dissents. Frequently, these appeared in comic contexts, flirting with the limits of what could be publicly voiced at the time. Más bonita que ninguna is a musical comedy where transvestism is central to the narrative and some of its musical numbers, generating numerous textual tensions that allude to homosexuality. This article uses queer film theory to analyse the queer representations in the film and to highlight the queer authorship of its creators, among whom homosexual producer Luis Sanz stands out. [ABSTRACT FROM AUTHOR]

Previous readings of Glauber Rocha's Barravento/The Turning Wind (1962) have generally focused on Marxist rhetoric or on the film's treatment of Candomblé. Through a close reading of the film, this article proposes an interpretation that foregrounds the film's depiction of sexuality and sexual identity, which helps illuminate to a greater degree the film's potential to challenge the status quo. Coupling a queer theoretical framework with attention to the specificities of contemporary Brazilian sexual culture, this article suggests that the film's more ambivalent or contradictory aspects often relate to how it constructs sexuality and sexual identity. Furthermore, it suggests that tensions around sexual identity can be traced to the heart of the political problem Rocha explores in Barravento, and that the resolution of these tensions is key to the development of a liberated, non-hierarchical and anti-authoritarian community. [ABSTRACT FROM AUTHOR]

The article explores homophobia and sexual deviance in James Bond films including "Skyfall," "From Russia With Love" and "Spectre." Topics include the link between deviant sexuality and morality in "Spectre," a battle between heterosexuality and homosexuality revealed in "From Russia With Love," and a description of "Skyfall" arch-villain Raoul Silva played by actor Javier Bardem.

The article analyzes the animated film "Frozen." Topics discussed include the negative representations of homosexuality represented by the film, the sexualized objectivity of the character named Elsa and her dangerous magical unconscious, and the sexuality of Olaf which was drawn on psychoanalytic themes.

The article discusses the attitude of the public towards homosexuality in Italy in 1960. Topics include the murder of accountant Pietro Andrea Gargiulo in his apartment on April 30, 1965, the recall of the murder in the film " Splendori e miserie di Madame Royale" directed by Vittorio Caprioli, and the hidden world of gay sex in Rome shown by the murder of Gargiulo.

Cinema fulfills, in some occasions, an argumentative role: in one hand it reflects reality and states of beliefs of large social groups in a specific moment; on the other hand, it provides tools to the spectator in order to consolidate or criticize those beliefs. In this article, I have analyzed how cinema is able to carry out both tasks spreading and denouncing arguments supported in prejudices around homosexuality: I use as a point of departure, the analysis of the movie "But...I'm a Cheerleader" (Babbitt, 1999), In which it can be noticed how movie complies with this double role: It shows the vision that a large part of society has of homosexuality and how this vision is supported in arguments without any support (although they are psychologically persuasive): what in logics is denominated "fallacies." [ABSTRACT FROM AUTHOR]

Angelina Maccarone's 2005 feature film Fremde Haut dramatizes the perceived incoherence between homosexuality and Islam through visual iconographies of desire and faith. This article studies the film's protagonist Fariba, an Iranian refugee seeking asylum in Germany, with emphasis on the ambiguous, shifting, and entangled representations of various facets of her identity as a gay Muslim woman. The encoding and decoding of Fariba's identity symbolically suggest a problematic coexistence for faith and queer desire, which become lost in translation between the Middle East and Western Europe. I investigate the film's polysemic codes for gender, sexuality, religion, and ethnicity, with an eye to the Iranian and German sociopolitical climates of the 2000s. Through Fremde Haut's topographies and embodiments, director Maccarone interrogates the high stakes of migration and translation and their implications for human rights and survival at the start of the third millennium. [ABSTRACT FROM AUTHOR]

The article presents criticism on Egyptian film-maker Khaled El Hagar's film "Room to Rent," focusing on the film's depiction of homosexuality. Topics discussed include the concept of normalization in Arab cinema, queer elements of the film's camp and kitsch aesthetic, and censorship of El Hagar's films in Egypt. The reception of El Hagar's films "Little Dreams" and "Lust" following social and cultural revolution in Egypt in 2011 is noted.

Australian feature films featuring gay male characters have consistently defined the inner-city - and particularly the inner-city of Sydney - as a gay space. This article examines a range of such films within the historical context of the emergence of gay male community and culture in Sydney. While this history reveals the complex and contested nature of gay men's connections to the city, on-screen depictions have tended to mask such complexity in favour of a simplistic urban/gay versus rural/straight divide. By repeatedly exploring gay life in inner-city spaces through the eyes of heterosexual, rural visitors, Australian films have developed and replicated discourses that have seen Sydney defined as the 'true' home of gay male community and culture. [ABSTRACT FROM AUTHOR]

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This article focuses on the 2007 Indonesian film Coklat Stroberi and its accompanying novel and pop video. The novel by Christian Simamora was based on the film script. The song 'Di sini untukmu' was written especially for the film, in which the band Ungu made a cameo appearance, and the accompanying pop video features numerous scenes from it. While in recent years quite a number of Indonesian films have featured gay characters, this film is notable for the fact that it puts a gay relationship at the very centre of a romantic comedy, and is clearly aimed at a young (17--25) audience. Coklat Stroberi is undoubtedly trying to show same-sex relationships in a progressive light. Nonetheless, the representation of the characters and the film's final outcome highlight an ambivalent attitude towards homosexuality that is common in many Indonesian films. This article pays particular attention to those ambivalences and explores how our understanding of them is enhanced by analysing the transformation of the film into the genres of novel and pop video. Attention is also paid to an apparent mismatch in the filmic imagination of gay characters and the reality of gay lives as they are lived in Indonesia today. [ABSTRACT FROM AUTHOR]

The article presents an analysis of the tension between colonialism and homosexuality in Egyptian cinema. Information on the Egyptian government's censorship law is offered. A discussion on several Egyptian films including "The Emigrant (al-Muhagir)," "All My Life (Toul Omri)," and "The Malatili Bath (Hammam al-Malatili)" is detailed. Other topics discussed include the cinematic representation of homosexualiy, including the films "Alexandria Once Again (Iskindiryah Kaman wa Kaman) and "Yacoubian Building," and the retreat of several Egyptian actresses for religious purposes.

The protagonists of Hitchcock's The Man Who Knew Too Much (1956) are a married couple who each chafes against normative gender roles. While the film has its reactionary side, in its insistence on exploring the various threats to gendered normativity from within and without, it's one of the most ideologically unstable and unclassifiable films of the 1950s. This essay treats the film as an exploration of women's discontent with 50s American ‘Mommyism’ and as an allegory of Cold War-era homosexuality, especially cruising. Critics such as Robert J. Corber have read the film's construction of motherhood as misogynistic; in contrast, this essay argues that the representation of Jo McKenna's maternal ambivalence registers dissatisfactions with normative gender roles assigned to women. Analogously, her husband's growing attraction/repulsion to encroaching homoerotic energies signals discontentment with post-war codes of American masculinity. These paired gendered revolts – what I call gender protest – are linked to Hitchcock's deployment of the cinematic star both to camouflage and intensify his parodistic skewering of iconic myths of American manhood and womanhood. [ABSTRACT FROM AUTHOR]

Critics of Ang Lee's gay-themed Western may or may not condone homosexuality, but they agree on one point: this movie of cowboys in love is well made. The essay unpacks what this perception implies about Lee's craft, as an art of reticence and a politics of neutrality. [ABSTRACT FROM AUTHOR]

By situating the film's tragic representation of homosexuality within the tradition of melodrama, this article questions whether Broke bock Mountain truly challenges mainstream taboos. Like Midnight Cowboy, Brokeback Mountain casts its radical subject matter within an ultimately conservative generic paradigm rather than camping it up in the manner of Andy Warhol's Lonesome Cowboys. [ABSTRACT FROM AUTHOR]

This paper will consider recent developments in depictions of homosexuality in mainstream French cinema of the second half of the 1990s against, and as both reaction to and reflection of, a rapidly evolving social and political backdrop. Alongside contemporary political debates on gay rights, antidiscrimination laws and the PaCS, on-screen visibility of the gay community in France has developed from an apparent concentration on sexuality and sexual activity to a wider more accessible consideration and depiction of gay issues within mainstream French culturE, and society. Focusing on four films (Josiane Balasko's Gazon maudit, Alain Berliner's Ma vie en rose, Valérie Lemercier's Le Derriière and Gabriel Aghion's Belle Maman), this article will examine, on the one hand, representation of such 'gay interest' issues as gay parenting, the PaCS and questions of transgender and, on the other hand, the emergence of an apparent trend in recent French mainstream comedies to highlight, whether explicitly or implicitly, questions related to gender construction and gender identity. [ABSTRACT FROM AUTHOR]

In the recent film, The Object of My Affection, the pregnant heroine (played by the Friend with the famous hair, Jennifer Aniston) begins to make moves on her openly gay flatmate (Paul Rudd). In a musty and mysterious close-up, Aniston brushes across the gay man's body, aiming stealthily for the zipper of his jeans, proceeding nervously with a guilty look of transgression on her face. [ABSTRACT FROM AUTHOR]

Queer representation was common in American cinema during the Great Depression, and the records of Hollywood's Production Code Administration prove that those images were read as such at the time. Queerness was criticized because it refracted traditional masculinity imperiled by the socioeconomic crisis, yet it was essential as entertainment and ideological prop. [ABSTRACT FROM AUTHOR]

An essay is presented about gay male matrocentrism as seen on several films of the late 1980s. The author aims to explore the ways in which gay male memories of cinematic spectatorship work to present and affirm the pleasures of gay male maternal relationality. This was evident in the films "The Fruit Machine," and the 1945 melodrama "Brief Encounter." The author also looks at the history and deformative uses of the concept of gay matrocentrism as well as the reading of the identificatory relations between male homosexuality and the maternal.

In this article, the authors consider the ways in which an openly homosexual fantasy finds a space of expression through the production values of British art cinema and the acceptable cliches of a class narrative of public school/Oxbridge privilege and youthful transgression. The authors argue that it is through a recycling of the motifs and conventions of the Hollywood woman's film, from "Stella Dallas" to "All that Heaven Allows," that "Maurice" simultaneously articulates the emotional drama of forbidden longings, symptomatic illness, renunciation, and affirms a utopian wish-fulfillment. They also examine an anti-gay backlash and the attempt to impose legislative restrictions on the representations of homosexuality.

An essay about how the film "Scorpio Rising," directed by Kenneth Anger, inaugurated innovative representations of same-sex desire through its cinematic juxtaposition of mass-mediated images is presented. The author argues that underground filmmakers, identified as male homosexuals, created films for and about male homosexuality. He claims that the best way to appreciate queer representation in the film is to review the condition of homosexual visibility in popular culture during its initial release.