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Overcoming the Stigma: The Queer Denial of Indiewood

Overcoming the Stigma: The Queer Denial of Indiewood stuart richards sex sells, except when it comes to In diewood films with lesbian, gay, bisexual, and transgender (LGBT) content. This is significantly evident when looking at the two trailers that were released for Tom Ford's A Single Man, a film detailing a day in the life of a depressed gay British professor. Although neither trailer presents the film's basic narrative or empha sizes that the film is an adaptation of a Chris topher Isherwood novel of the same name, both present a few key shots accompanied by the film's score. Tom Ford's initial trailer for the Toronto International Film Festival illustrates the film's gay content alongside other elements of the film's narrative. We have the shot of Colin Firth and Matthew Goode kissing, a shot of Firth looking into Nicholas Hoult's eyes, and ultimately an equal pairing of Firth interacting with male characters as he does with female, particularly Julianne Moore. The film was then sold to the Weinstein Company, whose subse quent trailer tells a markedly different story: Goode's and Hoult's names are removed from the final moments of the trailer; the gay kiss is removed; and there is a conspicuously un subtle attempt at pushing http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

Overcoming the Stigma: The Queer Denial of Indiewood

Journal of Film and Video , Volume 68 (1) – Mar 9, 2016
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Publisher
University of Illinois Press
Copyright
Copyright © 2008 The Board of Trustees of the University of Illinois.
ISSN
1934-6018
Publisher site
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Abstract

stuart richards sex sells, except when it comes to In diewood films with lesbian, gay, bisexual, and transgender (LGBT) content. This is significantly evident when looking at the two trailers that were released for Tom Ford's A Single Man, a film detailing a day in the life of a depressed gay British professor. Although neither trailer presents the film's basic narrative or empha sizes that the film is an adaptation of a Chris topher Isherwood novel of the same name, both present a few key shots accompanied by the film's score. Tom Ford's initial trailer for the Toronto International Film Festival illustrates the film's gay content alongside other elements of the film's narrative. We have the shot of Colin Firth and Matthew Goode kissing, a shot of Firth looking into Nicholas Hoult's eyes, and ultimately an equal pairing of Firth interacting with male characters as he does with female, particularly Julianne Moore. The film was then sold to the Weinstein Company, whose subse quent trailer tells a markedly different story: Goode's and Hoult's names are removed from the final moments of the trailer; the gay kiss is removed; and there is a conspicuously un subtle attempt at pushing

Journal

Journal of Film and Video – University of Illinois Press

Published: Mar 9, 2016

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