Dressing the invisible gay man
Minchell, Benjamin R K (2024) Dressing the invisible gay man. In: EUPOP 2024: Borders, 1-3 July 2024, Estonian Academy of Music and Theatre, Tallinn, Estonia. (Unpublished)
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The depiction of gay men in cinema has long been intertwined with stereotypes and societal ideologies that shape discussions around gay culture. Historically, these stereotypes have revolved around fashion and consumerism, reinforcing the notion that the value of gay men lies in their economic status and style. Films not only reflect these stereotypes but also establish standards for them. This article contends that gay men have had to construct and define their identities based on the images and representations presented to them. In contrast to overt stereotypes prevalent in historic and modern cinema, contemporary British cinema crosses borders and embraces a subtler portrayal of gay men. The depiction of the invisible or barely seen gay man often draws on historic references to horror. Andrew Haigh’s All of us Strangers (2023) serves as a cornerstone for this discussion. Renowned for his approach to gay male narratives form gay perspectives, Haigh diverges form Hollywood conventions by exploring the stories of a damaged young boy and lost, invisible older man. Drawing on historic film studies texts, (Dyer, 2002; Goltz, 2010), observations of gay men’s style (Cole, 2023) and visual analysis of Haigh’s filmography (Weekend, 2011; All of Us Strangers, 2023) this article examines Dressing the Invisible Gay Man and its potential impact on gay culture. It aims to comment Haigh for delving into unexplored storylines and utilizes theories of masculinity in film (Lehman, 2001; Church Gibson, 2004; Cohen & Rae Hark, 1993) to initiate a dialogue on how ‘dressing’ the invisible gay man can counter the damaging effects of Hollywood stereotypes and contribute to future discussions.
The presentation is the initial work presented to a conference on popular culture as part of a queer panel.
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