photo & text by nacrowe
i read film historian VITO RUSSO's THE CELLULOID CLOSET: HOMOSEXUALITY IN THE MOVIES (HARPER & ROW, 1981) while still in undergrad in the early 2000s. its themes regarding IDENTITY and REPRESENTATION in the media very much resonated with me at the time.
i should backtrack and say that a running thread throughout much of my academic career as an ENGLISH major devouring literature and film was the relationship between the author/auteur and the audience. the read/viewer completes a loop set out by a creator whereby SIGNALS are interpreted and assigned VALUE. part of the interesting thing about interpreting art in a college setting is how diverse audiences divine diverse meanings. i knew this phenomena implicitly from my time growing up abroad, but my college and graduate experience, as well as my years as a teacher abroad only further cemented such. with THE CELLULOID CLOSET i was presented with meanings regarding MEDIA REPRESENTATION in film culture culled from a segment of society i was not familiar with at the time: the GAY community.
it still blows my mind how much subtext i missed from the likes of HOWARD HAWKS, DEREK JARMAN, NICHOLAS RAY, GREGG ARAKI, JAMES WHALE, BILLY WILDER, JOHN HUSTON and STANLEY KUBRICK among many others. there was definitely a CODED LANGUAGE regarding MANNERISM, DIALECT and general AFFECTATION that went way past me at the time. what was also lost on me was the unfortunate longstanding history of depicting HOMOSEXUAL men as effeminate self-hating sissies who were undeserving of affection, loyalty or respect. this was in part a cruel legacy of the PRODUCTION CODE of the 1930s that was initiated to "ensure" a level of MORALITY in entertainment, but like any standard bearer of NORMATIVE CULTURE, only served the hegemonic interests of an AMERICAN body politic that despised all that threatened the status quo. thus HOMOSEXUALS were brutally depicted along with ethnic minorities, women and all elements of "foreign" cultures.
the fact that some were able to utilize CODED LANGAGE and IMAGES to bypass the censors and address the experiences of a minority audience in a mainstream film is super fascinating to me. VITO's book is basically a catalogue of examples that showcase the evolution of HOMOSEXUAL depictions in film over time.
in a post-MARRIAGE EQUALITY AMERICA, this conversation may appear quaint, but this is the type of book that really makes you consider how far we have come as a culture in the past century and why it is so utterly disappointing and beyond depraved that there are current elements in our society that want to take us back to this closeted time. THE CELLULOID CLOSET and the documentary that shares its name should be required reading/viewing because it provides evidence about how ostracizing and traumatizing any segment of society effectively degrades us all. as a society we should be more aware of how the AMERICAN experience is lived by all elements of society, not just the CAUCASIAN perspective. this book helps introduce such a unique perspective in a novel way.
i could not recommend it with more enthusiasm. it is desperately needed in our current cultural and political moment.
art by nacrowe
cult filmmaker and queer icon DEREK JARMAN was a visual artist of the first order. he gave voice to a community that was largely ostracized, forgotten and pushed to the periphery of western society during the twin reigns of 1980s reagan's america and thatcher's britain.
given the new world order we find ourselves in at the current historical and cultural moment, his largely claustrophobic set pieces with equally harrowing narratives dealing often with whisper campaigns (EDWARD II), coded behavior (CARAVAGGIO) and persecution based on identity (SEBASTIANE) seem wholly prescient and beyond relevant to today's jumbled digital clusterfuck of identity, reason and truth.
JARMAN may have been writing and speaking from the perspective of an uncloseted homosexual in the 80s dealing with the AIDS epidemic, which ultimately took his life, but in his immaculately constructed scenes of fringe characters fighting for dignity and purpose in a world that offers neither, I find a overflowing well of both.
his films show that you don't need outside affirmation to have real meaning and purpose, even if you are doomed.