The film "Brokeback Mountain" was released in December of 2005 into mainstream theaters and to general audiences. Director Ang Lee, screenwriters Diana Ossana and Larry McMurtry, and actors Heath Ledger and Jake Gyllenhaal made this film in which the storyline revolves around two men falling in love and how this forbidden love would affect the rest of their lives. The shock of having a film with two men kissing and having sex in the theaters seemed to have struck a nerve with many viewers. Some were very positive, hailing the film as a new step in mainstream films to show a queer relationship, others were negative, criticizing the film even at times condemning what was shown on the screen. The impact of the film made debate and conversations about queer content available to a public forum, in this case newspapers from around the country.

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Submitted by Haroudo Xavier Filho (haroudo.xavierfo@ufpe.br) on 2016-03-08T17:57:25Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Cinema gay brasileiro (PPGCOM, 2015).pdf: 4154701 bytes, checksum: 6e7df1d3c00e3dc42fbccaae4a6246bc (MD5) / Made available in DSpace on 2016-03-08T17:57:26Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Cinema gay brasileiro (PPGCOM, 2015).pdf: 4154701 bytes, checksum: 6e7df1d3c00e3dc42fbccaae4a6246bc (MD5) Previous issue date: 2015-06-30 / CAPES / Grande parte dos estudos a respeito do homoerotismo no cinema brasileiro teve como norte, até então, as políticas de representação e sua análise do potencial dos filmes de conservação ou transgressão dos discursos heteronormativos hegemônicos. Não perdendo de vista essa questão, mas ampliando o leque de abordagens, esta tese passa em revista a história do cinema brasileiro e seu tratamento do homoerotismo masculino, buscando analisar, por meio de um formato panorâmico, diferentes questões em torno do tema. Assim, as chanchadas das décadas de 1930, 40 e 50 são investigadas a partir de dois elementos: seu uso cômico de estereótipos e sua relação com a cultura homoerótica da época através do conceito de espectatorialidade queer. Já os primeiros filmes que abordaram o tema de forma direta, na década de 60, são analisados a partir de sua relação com a homofobia enquanto elemento constitutivo da masculinidade nacional. As pornochanchadas e o cinema da Retomada, por sua vez, são examinados a partir de sua relação com as identidades homoeróticas vigentes em cada período, sejam a bicha, o bofe e o entendido do primeiro caso, seja o gay do segundo. Os curtas-­‐metragens das décadas de 1990 e 2000 e os festivais de cinema LGBT são descritos à luz da emergência da concepção de um cinema gay brasileiro. Por fim, o cinema contemporâneo é interpelado tanto a partir de sua relação com duas diferentes tendências do ativismo LGBT – o assimilacionismo e o liberacionismo – quanto por sua aproximação da sensibilidade camp e dos fundamentos dos estudos queer. / So far, most of the research on Brazilian queer cinema was based on the politics of representation, i.e., on the potential (or lack thereof) of movies in disrupting the hegemonic heteronormative discourses. Keeping an eye on this issue, but also trying to broaden the range of approaches, this thesis reviews the history of Brazilian cinema and its representation of male homoeroticism, trying to analyze a diverse array of issues surrounding the topic. In this sense, the chanchadas of the 1930s, 40s and 50s are analyzed from two different perspectives: its comical usage of homoerotic stereotypes and its relation to the homoerotic culture of its time. The first movies that dealt directly with male homoeroticism, in the 60s, are scrutinized on their relation to homophobic discourses that are constitutive of the national masculinity. The pornochanchadas and the Retomada cinema are examined in relation to the male homoerotic identities particular to each period, such as the bicha, the bofe and the entendido of the former, and the gay of the later. The short films of the 90s and 2000s and the LGBT film festivals are considered in the light of the emergence of the concept of a Brazilian gay cinema. Finally, Brazilian contemporary cinema is analyzed from its relation to two different trends of LGBT activism -­‐ assimilationism and liberationism -­‐ and also from its use of both the camp sensibility and the assumptions of queer theory.

This essay analyzes how the films Less Than Zero and The Doom Generation intersect with their overlapping themes regarding sex, sexuality, and death. The intended goal of the readings in this essay is to examine how queerness was represented in film during the AIDS crisis, specifically through the feature of a sexually fluid trio of friends. It first identifies the common elements of both films, including the gender makeup of the friend group, ambiguous or unrealized queerness, the role of the car in sexual desire, and themes of death and demise. The essay then considers the context of the AIDS crisis and 80s conservatism, Lacanian ethics, and queer theory to dissect how these elements and themes are explored in opposing ways. My central argument then is that Less Than Zero uses these narrative elements in problematic ways to condemn its queer character and, subsequently, queer audiences, while The Doom Generation uses these elements to offer a more respectful and sympathetic view of its queer characters and audiences. This essay stands as another example of queer analysis conducted by a queer researcher to place both Less Than Zero and The Doom Generation in a unique conversation with one another as similar, though ultimately opposing films.

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The thesis proposes the New Queer Cinema chapter of film history as a paradigm of queer film's subversive practices. The theoretically and historically focused first part establishes the term queer, expounds its possible applications to film in the realm of queer film studies and in the third chapter critically introduces the 'new wave' of queer film New Queer Cinema. The analytical part assigns queer and its possible functions as its basis for inquiry. It consists of two parts: the first performs the formal-content analysis of the pivotal film Swoon (1992); the final chapter builds on its conclusions and examines the corpus of New Queer Cinema films along four analytical cuts in order to describe how they produce the queer discourse. The final output of the thesis is an open model of prospective approaches to queer film.

In this thesis, I explore how specific films and television shows use the preexisting structure and mechanics of narrative film in order to create queer characters and stories that defy their otherness and stereotypes, thus creating a profound cinematic experience. Not only does the manipulation of these structures and mechanics heighten the realism and depth of the narrative at hand, it also enhances audience identification by allowing queer viewers to find themselves and straight viewers to understand the “other.” In this manner, the New New Queer Cinema and television have had lasting effects on the modern gay rights movement, changing perceptions and attitudes of society on an extremely personal level and making way for incredible strides in public policy changes.

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