Queer filmmakers in the 20th century navigated censorship through the use of symbolism, narrative innovation, and aesthetic subversion, which has informed contemporary media theory. This essay will explore these tactics in depth.
Symbolism:
The first section will be about the use of symbolism in queer films. Symbolism is the representation of ideas through images, sounds, colors, and objects that stand for something else, conveying meaning beyond their literal sense.
In the 1968 film "Viridiana" directed by Luis Buñuel, there are several scenes featuring food that can be interpreted as representing the female body, with the spoon representing a penis and the bowl as a vagina. In another scene, Viridiana's lover Manuel rapes her with a broomstick, which represents masculine power. The use of such symbols allowed queer filmmakers to express sexual themes without being explicitly sexual or explicit.
Narrative innovation:
In the second section, I will discuss how queer filmmakers used unconventional storytelling techniques to get around censorship laws. One notable example is Pier Paolo Pasolini's "Salo", released in 1975. It is an experimental film that blends documentary footage, interviews, and fictional elements to tell a story about four fascist leaders who abuse and humiliate teenagers during World War II. The lack of linearity and the use of non-traditional editing techniques made it difficult for censors to understand what was going on, allowing Pasolini to challenge traditional narratives and social norms. Another example is "Tongues Untied," a 1989 documentary directed by Marlon Riggs, which explores black gay identity through poetry, music, and dance, challenging the dominant narrative of black masculinity.
Aesthetic subversion:
The third section will explore how queer filmmakers employed aesthetic subversion to navigate censorship. This involves using artistic conventions and mediums in unexpected ways to critique societal norms and structures.
In Derek Jarman's "Jubilee" from 1978, he uses color and sound to create an abstract, dreamlike world where gender binaries are blurred, and sexual orientation is not binary. The movie features drag performances, punk music, and vivid colors, creating a unique visual experience that defies expectations. In "Paris Is Burning" (1990), directed by Jennie Livingston, drag performers and ballroom culture are portrayed as a space for self-expression and empowerment, challenging mainstream conceptions of beauty and gender roles. These examples demonstrate how aesthetic subversion can challenge dominant discourses and push boundaries.
Contemporary media theory:
The legacy of these tactics has informed contemporary media theory, with filmmakers continuing to use symbolism, narrative innovation, and aesthetic subversion to tackle taboos and social issues. Today, we see this in films like "Moonlight," which won the Academy Award for Best Picture in 2017, and "Call Me By Your Name," both of which address LGBTQ+ themes through subtle symbolism and intimate storytelling.
Queer filmmakers have always pushed the limits of what is acceptable and challenged society's perceptions of sexuality and identity, paving the way for future generations to do the same.
How did queer filmmakers in the 20th century employ symbolism, narrative innovation, and aesthetic subversion to navigate censorship, and how does this legacy inform contemporary media theory?
In the 20th century, queer filmmakers used symbolism, narrative innovation, and aesthetic subversion to circumvent censorship laws and regulations that prohibited explicit depictions of homosexuality on screen.