by Lucy Smith, based on a recent presentation to PGS Pride.
The
text and slides here are taken from a recent talk I gave at PGS Pride.
Following some positive feedback, and requests for my filmography to be shared,
I felt the blog was the obvious place to reach a wider audience.
The
history of lesbian cinema is tied up with three separate elements:
·
Changing social attitudes to homosexuality;
·
The role and status of women in society, and;
·
The history of cinema itself.
Although
this talk will provide a brief introduction to the genre, it does not pretend
to be in any way comprehensive or exhaustive. My aim is to give an overview of
some of the most common themes present within lesbian cinema, with specific
exemplification linked to each. The focus is on cinema, so I have avoided any
depictions on television. My research is sourced from personal interest and
viewing, the film studies component of my degree, and the 1995 documentary The Celluloid Closet.
In
the early days of cinema, films were short and silent. Cinema became popular
due to its novelty as a medium. Lesbianism tended to be considered too
scandalous for mainstream audiences, and the earliest depictions were in
pornographic films, or gentle Sapphic erotica at fairground peepshows. A good
example of the latter can be found next door in Portsmouth Museum, in a
turn-of-last-century peepshow dance of Venus and Aphrodite.
Role
reversal played a big part in the early depictions of LGBT characters on
screen, always presented as a figure of comedy with no overt mention of
sexuality, for example the stock gay male character of the sissy.
The
Weimar Republic of 1919-1933 Germany displayed notoriously liberal attitudes to
LGBT culture, so it is perhaps no surprise that one of the first ever positive
lesbian portrayals on film came from there. 1931's Mädchen in Uniform focused on a lesbian relationship between a
school teacher and boarding school pupil. Although the film achieved cult
status and inspired a number of other lesbian films (suppressed and banned
under Nazi Germany), it was largely eclipsed by the runaway success of 1930's Der Blau Engel. Another film about a
naughty teacher, it follows a schoolmaster who meets a tragic end as a result
of his obsession with cabaret act Lola Lola, played by Marlene Dietrich in her
breakthrough role.
Bisexual
Dietrich moved from Germany to Hollywood later that year, and her first U.S.
film was 1930's Morocco. This
pre-Code film is significant for being the first mainstream Hollywood depiction
of a lesbian kiss, in a scene where a dragged-up Dietrich, as part of a cabaret
performance, kisses a female audience member, as this clip from The Celluloid Closet discusses.
Following
the Great Depression, films attempted to become more and more shocking in order
to draw audiences in during tough economic times. In response to the perceived
corruptive influence of cinema, this led to the development of the Motion
Picture Production Code, colloquially referred to as the Hays Code. Named
after Will Hays, the Code was influenced by public outcry and conservative
pressures, particularly from the Catholic Church, and heavily censored American
films that did not meet its strict standard of wholesome moral decency,
especially relating to violence, horror, and sex. Homosexuality, of course, was
not tolerated, and the legacy it had on lesbianism in film lasted far beyond
its legal timespan.
The
main impact of the Hays Code was that, in order to be screened, any sort of
homosexual relationship had to be inferred from an overtly heterosexual plot
line. Homosexuality could in no way be directly depicted. As a result, a number
of films have been subject to lesbian interpretations. Filmmakers deliberately
sought to circumvent the Code with storylines that worked on a number of levels
with an audience, utilising subtle devices that would only be apparent to an
LGBT audience. For example, a slap under Hays Code cinema was often filmmaker
code for a passionate kiss. A scene in Calamity
Jane (1953) illustrates one such interpretation.
The
film itself has been subject to a lesbian interpretation of the relationship
between Calamity Jane and Katie Brown. Of course, it’s not for me to infer, but
suffice to say there is a scene where the two women move in together, sing a
song called "A Woman's Touch", and set about debutching Calam,
followed by the famous "Secret Love" torch song. A popular gay
anthem, it has long been adopted by those espousing "the love that dare
not speak its name".
The
theme of plot interpretation of mainstream films continues well beyond the end
of the Hays Code in 1968, for example the 1991 film Thelma
and Louise, with its emphasis on female friendship above all, even to
the death.
Lesbianism
also becomes intrinsically linked with morality. Characters perceived to be
lesbians must get their comeuppance, such as in The Children's Hour (1961). This film adaptation made lesser
reference to lesbianism than its stage predecessor, but follows two school
teachers who are subject to a lie by an embittered pupil. Whilst realising
there may be some truth behind the lie, the film ends in suicide. We saw Abby
Moss and Kat Sillett in a recent school assembly performing this pivotal scene.
A
further aspect of this "morality narrative" is the depiction of
lesbians as monsters and seductresses, for example in low budget West-German
Spanish cult flick Vampryos Lesbos (1971),
and in the rather more mainstream The
Hunger (1983), a British lesbian vampire erotic horror film starring
Catherine Deneuve, Susan Sarandon, and David Bowie.
A
final strand to the "morality narrative" theme is that of "girls
gone bad". This particularly refers to "women in prison films"
aka the dykesploitation sub-genre. An example of this is the wonderful Scrubbers, a British
film from 1983, depicting life in a female Borstal. Despite some glaring
historical and judicial inaccuracies, the film is hugely watchable and
entertaining, with a lesbian plotline and a relatively unknown cast who went on
to be some of the biggest names in British film and television. Later films
that link with this genre include the Wachowski’s (of The Matrix fame- born
brothers, they have both since transitioned to live as women) Bound (1996), a film following a
gangster's moll and a female ex-con.
As
society began to shift towards LGBT acceptance, there was a rise in depictions
of lesbianism in film. Whilst Hollywood was quicker to acknowledge male
homosexuality (Dog Day Afternoon, Cruising, Philadelphia etc), prominent lesbian plot lines were somewhat
slower to find audiences.
Lesbianism
in cinema underwent something of a golden age in the 90s-early 00s, in a number
of sassy, smart indie flicks establishing queer identity as something edgy and
alternative, for example in 1999's delightfully meta- exploration of gay camp therapy
But I'm a
Cheerleader. Eagle-eyed viewers will spot Natasha Lyonne, of Orange is the New Black fame, appearing
here as Megan, a cheerleader who is persuaded into gay conversion therapy.
Despite her insistence that she has never had any homosexual inclinations,
Megan realises that she is a lesbian as a result of the camp's heterosexual
reorientation program.
Whilst
lesbianism has become more and more accepted amongst recent cinema audiences,
owing to films such as Mullholland Drive (2001)
and The Kids Are Alright (2010), one
film is worth mention above others- 2015's Carol,
a major blockbuster, set in 1950s’ America, with a primarily lesbian plot. The
film is seminal for its appeal to mainstream audiences, its compassionate
treatment of a taboo relationship, and its beautiful cinematography, shot on
Kodak Super 16mm film. The film is based on Patricia Highsmith's wonderful 1952
novel The Price of Salt, in itself ground-breaking
for being the first fictional depiction of a lesbian happy ending, albeit a
slightly ambiguous one. The film is a truly "full circle" work,
thematically, sexually, and aesthetically.
In
order to conclude, I would like to leave you with a medley from the Celluloid Closet documentary, depicting
the clandestine "Secret Love"
relationships of queer cinema.
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