[ SECRET POST #608 ]

[case]

⌈ Secret Post #608 ⌋

Warning: Some secrets are NOT worksafe and may contain SPOILERS.

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Notes:

Early 'cause I've got a 4:30 class --

Help our city grow! → [ 1 2 3 4 ]

Secrets Left to Post: 05 pages, 104 secrets from Secret Submission Post #087.
Secrets Not Posted: [ 0 - broken links ], [ 1 2 3 - not!secrets ], [ 1 - not!fandom ], [ 1 - too big ], [ 1 2 3 - repeat ], [ 1 (attack) 2 3 4 5 LOL - lolwhat ].
Current Secret Submissions Post: here.
Suggestions, comments, and concerns should go here.

Comments

[la-localfreak.livejournal.com]

188. Not sure I follow you about the protection thing (pre-1980s= not particularly unusual not to wear any) but I agree the film had many problems and it certainly wasn't as revolutionary as the hype suggested, if anything the plot was one of the other fiction-plots ascribed to homosexuality, Dirk Bogarde's 'Victim' being one of the first main stream films with a lead homosexual character. (Homosexuals in film being, traditionally, either "neutered spectacle" i.e. camp and harmless or weak, somewhat neurotic and obviously doomed to misery) I went to see it with my university's lgbt and I was really annoyed by it- the symbolism of the black and tan hats, the idea that one was 'gay' the other 'only gay for one man', the fact that there were more breasts than gay sex, Bottom!Jack etc. Some of which, I was informed later, comes from the director reliant on influences from chinese-and-similar film and cultural semiotics which perhaps doesn't translate as well for the intended audience.

I'll stop now, before I go further, suffice to say that when it comes to the lgbt history books I sincerely hope Brokeback is relegated to a scant mention and the focus is on Transamerica which came out around the same time (maybe a year earlier?) and was much, much more 'revolutionary' in its politics.