1 Representations of Queer folk

through medias effect on

visual culture

Representations of Queer folk In Medias effect on Visual Culture Through

History

Name: Tate Gavin

Student ID: 2026964

Module: CU4027 ; Visual Cultural Studies

Module Leader: Dr. Barrie Wharton

Date: 27/11/21
2 Representations of Queer folk
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visual culture

From depictions of homo-erotic relations in early Greco Roman art (Warren Cup c.5-15AD)

to cross dressing in Shakespearean plays of the Elizabethan era, Queerness has always found a

means of expression in visual culture. The depiction of queer folk in the arts holds huge cultural

significance in co-relation to the stigmatization of the LGBTQ community and its fight for

visibility. Queer depictions have often been molded by the conservative binds deeming

homosexuality socially unacceptable. With acts of homosexuality only being de-criminalized in

the latter half of the 20th century & psychiatrists still insisting homosexuality to be a pathology

till the late 20th century, media has been heavily fueled with voices of polarizing opinions on

queerness. “traditionalists” often manipulate media prompting censorship of queer folk or

vilifying their characters while Queer artists produce works in hope of solidifying a visible queer

identity and fighting normative binaries, The works of both parties have had great cultural

impacts in both positive and negative ways.

Early queer media representation characterized the homosexual man to be an be a parody of

woman, a man “foppish and effeminate in nature.” (Queer Representation in Film and

Television, 2021) This disparaging depiction was entitled “The sissy” and fed into a homophobic

and satirized view of queerness, while still censoring the complex intimate aspects of queer life.

The early “sissy” was used for comedic relief ,1935’s comedy “The Awakening of Jim Burke”

touches on this comedic effeminate portrayal as a hardnosed macho man meets his estranged

flamboyant son and is shocked to find that “Little Jim...ain't nothing but a sissy.” (Iron Fist

(1935) - IMDb, 2021). Similarly, in “1933’s “Bed of Roses” Franklin Plangorn depicts the

showy head of a women's department store, A sissy obsessively fussed with women's underwear.
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While notably insulting, the early sissy was a jester like caricature varying greatly from the

highly weaponized portrayal of the later “sissy” in the 1960’s-70’s (The Queer Encyclopedia of

Film and Television, 2012).

Reactions to the early sissy are varied, In the Celluloid Closet by Author Vito Russo, Russo

reprimands these depictions and labels them “cruel and homophobic”, he laments on the 1890’s

to the 1980’s and discourages of how gay and lesbian characters were defined by their sexual

orientation and lacked the “complex character development” given to their heterosexual

counterparts. However, Actor Harvey Fierstein a man frequenting sissy like roles, states his

admiration for the sissy in interviews for the Documentary of the Celluloid Closet stating “I liked

the early sissy, it was innocent comedy” (Morriss, 2015)

In the 1940’s to 1950’s queer depictions shifted as a system of self-censorship entitled the

‘Hayes Code’ was introduced. This code was introduced in response to religious groupings

pushing ethics around the immorality of television. This strict censorship meant that queer

characters had to be covertly queer, Characters were queer-coded and portrayed through their

mannerisms and physical appearance. The Hayes code had huge cultural impacts as it fed into

the turmoil within the queer community of censorship vs visibility & assimilation vs

intervention, pursuing a queer lifestyle was taboo and the community should be unseen &

unheard from, leading many queer folks to remain closeted and stifled. This issue of visibility led

to the creation of many clandestine lingo & visual coding for the queer community, as so they

could pursue a queer life without societal persecution. With limited representation at the hands

of Hayes code, Queer individuals found comfort and visibility in sexually ambiguous characters

like Robin from batman & Robin or highly camp & theatrical productions such as The Wizards
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of Oz. Such high receptions of The Wizard of Oz among queer groupings helped mold

previously mentioned clandestine lingo, “are you a friend of Dorothys?” was used as a

euphemism to discuss sexual orientation dating as far back as WWII among gay men seeking

partnership (Herring, 2009). Scholars, such as Richard Meyer, have explored how artists from

the period including Andy Warhol, Agnes Martin and Jasper Johns infuse their art with visual

codes signifying a queer identity (Amrou Al-Kadhi, 2021). Andy Warhols repurposing of highly

camp individuals and femme icons in his kitschy art style held underlying queer tones. It's said

Warhols interest of comic book hero superman in his early career is suggestive to hold a

homoerotic affinity to being an immigrant alien, who transforms oneself within the big city

(MacKay, 2020).

In June of 1969, a series of spontaneous acts of rebellion were carried out in response to a

police raid of a Mafia Owned gay bar in Greenwich, New York. These acts of Rebellion helped

kindle the modern LGBTQ civil rights movements we know today and is celebrated every June

during pride among the LGBTQ community (How the Stonewall uprising ignited the modern

LGBTQ rights movement, 2021). In context to gay media, art historians and media scholars note

whether a cultural product is pre stonewall or post stone wall, as the riots elicited a huge cultural

shift.

After Stonewall the LGBTQ community seemingly emerged from the shadows, embracing a

blatant aggressive queerness unashamedly. “Everyone in the crowd felt that we were never going

to go back to the shadows,” (Carter, 2013) Michael Fader a patron of the Stonewall Inn noted.

This outward queerness was met with an increasingly homophobic response as traditionalist felt

their values in danger. The early comedic depiction of the “sissy” was weaponized and altered
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into a villainous predatory Character. Increasingly homophobic in response to aggressive

Queerness, a huge dichotomy between the early comedic depiction vs the now predatory

villainous depiction. Films such as The Children’s Hour (1961), The Boys in the Band (1970),

Midnight Express (1978), and Vanishing Point (1971) exemplify the politicized depiction of a

queer man through an anti-gay lens, as the “Sissy” was now morally corrupt, sociopathic,

predatory and suicidal (Queer Representation in Film and Television, 2021).

The 80’s-90’s were monumental in terms of Queer representation in visual culture, The

decade after Stonewall paved a new narrative for queer folk, The word queer a previously

pejorative term used to berate atypical individuals was reclaimed by the community and

embraced as in your face Identity. The previous turmoil within the queer community of

assimilation was challenged as those who married women as a social pretense ventured to live

authentically (Abelove, Barale and Halperin, n.d.). New queer media challenged the notions that

homosexuality was only acceptable in media as long as it was palatable to a heteronormative

audience. Queer Film makers such as John Waters and Cameron Mitchell became venerated

among the community for their use of irony and antagonism towards the naturalistic style of film

present during the era. Previous politicized depictions of queer folk as villainous, disgusting and

shocking among conservative directors were tactfully made mockery of by John Waters in films

such as ‘Pink Flamingos’ and ‘Female Troubles ‘. In these films extremely filthy acts were

endeavored by highly camp individuals. Drag queens went on murder sprees, ran for political

elections and even ate dog excrement. John waters was dubbed “The King of Trash” and made

being disgusting fashionable, all by embodying a derogatory depiction of a queer person

(Exploring John Waters' Indecent Exposure to Visual Art | Widewalls, 2021).

6 Representations of Queer folk
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In 1990 a documentary on the underground ballroom scene of New York was released by

Jennie Livingston, the documentary dealt with queer minorities and ballroom culture, a

celebration of effeminacy & queerness. Notably it dealt with drag queens and trans individuals

such as Pepper Le Beija & Dorian Corey. The documentary was entitled “Paris is Burning” and

offered insight into queer culture such as drag shows, Vogue dancing and the art of reading;

insults thrown between friends. The documentary raked in a whopping $3,779,620 in box office

revenue. As a newfound appreciated depiction of queer individuals hit the market mainstream

media became heavily influenced by queer culture. In 1990 Madonna released “Vogue” a song

influenced by ballroom culture and the art of voguing; elaborate, theatrical bodily movements.

Similarly Queer aesthetics hit mainstream fashion runways with Thierry Mugler’s gaudy designs

influenced by Campness; a style based on the appreciation of bad garish taste.

While the 80’s-90’s showed an influx in positive queer representation, the opioid epidemic

and aids crisis was heavily affiliated with queer individuals and was used by religious groupings

in anti-gay rhetoric (Rensberger, 1986). “the wrath of god on sinners” was a sentiment frequently

offered in anti-gay campaigns. The toll of HIV on the community however inspired many a artist

who used the struggle as a means of inspiration in their art. Photographers Diane Arbus and Nan

Goldin documented the deterioration of the community as loved ones felt victim to the virus.

This virus was a huge cultural marker as it affected so many within the community, killing

16,458 people in the US alone c. 1985.

In a contemporary context we have progressed significantly, thanks to the LGBTQ activist of

the past. RuPaul's drag race is a modern Tv phenomenon with 8 alternative series in 8 different

countries, The tv show bases itself on the same ballroom culture displayed in Jenny Livington's
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“Paris Is Burning”. Global pop sensations such as Little Nas x, Lady Gaga and Cardi Ball

frequent a camp aesthetic while 2005’s Brokeback Mountain & 2017’s Call me By Your Name

mark tv history as films solely concerning themselves with an Intimate gay Narrative. Queer

lingo has become infixed in everyday vocabulary such as “Slay, Werk and Yass”. As we

continue to progress & analyze what it means to have queer representation in media, we often

take note of the past & the struggles which have paved the way.
8 Representations of Queer folk
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References
2012. The Queer Encyclopedia of Film and Television. San Francisco, Calif.: Cleis Press.
Abelove, H., Barale, M. and Halperin, D., n.d. The Lesbian and gay studies reader.
Amrou Al-Kadhi, C., 2021. Hidden in plain sight: How gay artists expressed forbidden desire in
code. [online] CNN. Available at: <https://edition.cnn.com/style/article/queer-art-tate-
britain/index.html> [Accessed 30 November 2021].
Carter, D., 2013. Stonewall. New York: St. Martin's Press.
Herring, S., 2009. Queering the Underworld. Chicago: The University of Chicago Press.
History. 2021. How the Stonewall uprising ignited the modern LGBTQ rights movement. [online]
Available at: <https://www.nationalgeographic.com/history/article/stonewall-uprising-
ignited-modern-lgbtq-rights-movement> [Accessed 30 November 2021].
IMDb. 2021. Iron Fist (1935) - IMDb. [online] Available at:
<https://www.imdb.com/title/tt0026089/> [Accessed 30 November 2021].
MacKay, A., 2020. Why Pop Art Was the First Queer Art Movement. [online] AnOther.
Available at: <https://www.anothermag.com/art-photography/12349/why-pop-art-was-the-
first-queer-art-movement> [Accessed 30 November 2021].
MediaSmarts. 2021. Queer Representation in Film and Television. [online] Available at:
<https://mediasmarts.ca/digital-media-literacy/media-issues/diversity-media/queer-
representation/queer-representation-film-television> [Accessed 30 November 2021].
Morriss, G., 2015. Film Sissies ; the 1930's sissy. [online] Glbtqarchive.com. Available at:
<http://www.glbtqarchive.com/arts/film_sissies_A.pdf> [Accessed 30 November 2021].
Rensberger, B., 1986. AIDS Cases in 1985 Exceed Total of All Previous Years. [online]
Washington Post. Available at:
<https://www.washingtonpost.com/archive/politics/1986/01/17/aids-cases-in-1985-exceed-
total-of-all-previous-years/38c933d7-260c-414b-80f7-0dd282415cc6/> [Accessed 30
November 2021].
Widewalls. 2021. Exploring John Waters' Indecent Exposure to Visual Art | Widewalls. [online]
Available at: <https://www.widewalls.ch/magazine/john-waters-visual-art-baltimore-
museum> [Accessed 30 November 2021].