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"Why are you so obsessed with that gay hockey show?"
idk maybe because nothing comes close to the sheer amount of queer joy I feel when seeing not one but TWO beautiful queer relationships portrayed with such love, tenderness, vulnerability, and enthusiasm.
like, am I supposed to be normal about that? these losers got me sobbing, blushing, and kicking my feet every 5 seconds.
Weekly recommendations are here!
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From yesterday :p
God's Own Country: A Happy Ending for Gay Film
In Yorkshire, northern England, 24-year-old Johnny Saxby lives with his father, Martin, and grandmother, Deirdre, and runs a family farm together. Johnny has to do endless farm work day in and day out, so in his free time, he often numbs himself with alcohol and sex. One day, a Romanian migrant worker, Gheorghe Ionescu, was hired by Martin to help with the busy lambing season. Johnny does not get along well with this quiet and handsome 27-year-old young man until one day he tackles Johnny to the ground and warns Johnny not to call him "gypsy" again. On the next day, they have a rough and passionate sex in the dirt and later gradually become closer. When Martin suffers a second stroke, Johnny realizes the responsibility of running the farm falls entirely on his shoulders. He asks Gheorghe if he can stay with him and maintain the farm together, but Gheorghe believes if they cannot redefine their relationship, this plan will not survive. Johnny then gets upset and drinks to excess and has a random sex with another man, which is found out later by Gheorghe, so Gheorghe leaves the farm with sorrow and anger. But in the end, Johnny brings Gheorghe back and Gheorghe moves into the house from the original caravan.
The above description is about the British film God's Own Country, written and directed by Francis Lee in 2017, which won the world cinema directing award at the 2017 Sundance Film Festival as the only UK-based production. This film is partly based on Lee's own experience, who is a gay people used to live in Yorkshire. As an uncommon gay film with a happy ending, God's Own Country expands queer media territory into the countryside and migrants. While God's Own Country presents a new perspective to view gay people, it also reinforces problematic narratives through its depiction of traditional masculinity, representation of migrant, and "normalization" of gay identity. With three main themes presented, this review post also discusses the connection between masculinity and gender performativity, migrant and intersectionality, and gay identity and homonormativity.
From the character setting, and storyline, to the environment, God's Own Country is permeated with a traditional and binary "masculinity". The protagonist, Johnny, is a young sheep farmer living in the Yorkshire countryside who often engages in binge drinking and furtive casual sex. When he finds the one he wants to stay with (Gheorghe), he messes up since he does not know how to deal with this romantic relationship. And when he tries to bring Gheorghe back, it seems very difficult for him to express his apology. The depiction of such character is easily connected to a kind of traditional "masculinity" that is unemotional, violent, strong, high self-esteem, etc. Or, to put it in another way, an aggressive young man lives in a wild farm who does now know how to start an emotional communication.
Judith Butler (2006) argues that "there is no gender identity behind the expressions of gender; that identity is performatively constituted by the very 'expressions' that are said to be its results" (p. 34). In other words, "our gender is our expressions and behaviours (rather than those expressions and behaviours being the result of some underlying gender identity)" (Barker & Scheele 2016, p.79). People's gender then is more like an expression that is believed to be appropriate and correct within their cultural environment rather than a fixed nature within their bodies. In this sense, the masculinity of Johnny is more like an "intelligible" way to perform within his condition - a young sheep farmer in the countryside. The "good" thing may be Johnny, as a gay man, is not depicted in a stigmatized or stereotypical way that happens in many shows, but its depiction seems to reinforce the binary understanding of gender.
God's Own Country was released in 2017, which coincides UK's attempt of withdrawing from the European Union. Gheorghe, as a Romanian migrant worker in the film echoes the issue of migrants in Britain. Both as gay men, the nation, race, and class of Gheorghe is quite different from that of Johnny. Such demographic factors are greatly influencing the way Gheorghe interacts with Johnny who is a white, work-class, native British. When they first met, Johnny called Gheorghe a "gypsy". Later when they are in the bar, a white racist there also deliberately teases Gheorghe because of his identity.
Intersectionality refers to the overlapping of social categorization and how it is linked to the interconnected oppression. Doty (1993) also argues that cultural factors such as "class, ethnicity, gender, occupation, education, and religious, national, and regional allegiances influence our identity construction" and "can exert influences difficult to separate from the development of our identities queers" (p. 5). Although Gheorghe's identity of being gay does not bring him too much direct discrimination in the film, his race and class affect how he interact with Johnny and other people (such as the white racist in the bar mentioned above). And Gheorghe's conflict with Johnny is raised due to his identity, i.e. how Gheorghe as a Romanian migrant worker has a romantic gay relationship with a white, British farmer.
Moreover, how the film represents Gheorghe and his relationship with Johnny is also problematic. "The formal axe around which the film functions is the act of looking and being looked at, in particular the suspicious staring of the foreign 'outsider' by the white 'insider'" (Williams 2020, p.77). That is to say, the presentation of a Romanian migrant is from the viewpoint of a white British man. Although Gheorghe as a migrant seems to be depicted as the "savior" of British white man Johnny, Gheorghe's intersectional identity is actually not fully represented but more portrayed as the support or supplement of the main white character. For example, it is Gheorghe who saves Johnny from the heavy workload and mental loneliness, and teaches him how to "love" someone instead of just having brutal sex.
Unlike Brokeback Mountain (2005) or Boys Don't Cry (1999), queer characters do not struggle too much with their identity and social discrimination in God's Own Country. The gay identity of Johnny and Gheorghe seems to be very "natural" and "ordinary". Even when Deirdre, Johnny's Grandmother, finds a used condom in Johnny's room and realizes that her grandson may have sex with another man Gheorghe, she only emphasizes to Johnny that "he is only here to work". Johnny's family seems to accept their gay identity and relationship very well, or in another way, their gay identity and relationship are somehow "normalized" in the film. Furthermore, within their own relationship, Gheorghe is depicted as a gentle lover who is trying to tame his aggressive partner. And their relationship from the hostile beginning to the happy ending is very similar to traditional Hollywood romantic heterosexual films.
Homonormativity "is a politics that does not contest dominant heteronormative assumptions and institutions, but upholds and sustains them, while promising the possibility of a demobilized gay constituency and a privatized, depoliticized gay culture anchored in domesticity and consumption" (Duggan 2002, p. 50). In other words, although gay people may seem to be accepted and included in the mainstream or heteronormativity dominated system, they are actually framed and hidden under the heteronormativity and thus lose their identity. Although it may be good that the gay identity and relationship of Johnny and Gheorghe are treated as nothing special, the essence behind that may be the gay culture is depoliticized and thus loses its nature of being gay. Even gay couples may no longer be depicted as gay couples but heterosexual couples.
As an Asian, heterosexual college student, I may not be able to resonate with the film too much. Probably the scene where Gheorghe is discriminated against by a white racist can trigger some of the experiences around me. And although this film tells a story of a gay couple, the way this film puts their relationship yet is quite "familiar" to me, because of the last point I discussed above (homonormativity).
Originally, the explicit sex scene in this film makes me feel a little bit "awkward" and I feel like such scene is not very necessary. However, my knowledge in queer media studies makes me reconsider the role of sex in this film and I find that it is actually very "meaningful". Johnny used to be very aggressive in sex, but after the "tameness" of Gheorghe, Johnny gradually enjoys the touch and understands that there can be "love" (or emotion) in sex instead of just fulfilling the sexual needs. That is to say, the sex scene in this film actually sees the growth of a young man, the understanding of love, and the finding of oneself.
--- Miles
References
Barker, M. & Scheele, J. (2016). Section on Butler. In Queer a graphic history (pp. 73-83). Icon Books.
Butler, J. (2006). Identity, sex and the metaphysics of substance. In Gender trouble: Feminism and the subversion of identity (pp. 22-34). Routledge.
Doty, A. (1993). There's something queer here. In Making things perfectly queer (pp. 1-16). University of Minnesota Press.
Duggan, L. (2003). Equality, Inc. In The twilight of equality: Neoliberalism, cultural politics, and the attack on democracy (pp. 43-66). Beacon Press.
Williams J. (2020). Queering the cinematic field: Migrant love and rural beauty in God's Own Country (2017) and A Moment in the Reeds (2017). In Queering the migrant in contemporary European cinema (pp. 72-86). Routledge.
May the Lord, who frees you from sin, save you and raise you up. Evil 3x09
Supporting the LGBTQ+ community for over 30 years! http://gaycalgary.com
Adolescent Identity in Aristotle and Dante Discover the Secrets of the Universe
The Young Adult genre of literature has witnessed quite the popularity boom since the turn of the 21st century. As more teenagers find themselves fascinated with reading about characters that share similarities to them, more authors are finding ways to create accurate representation of diverse communities (Warrior Cats is a whole different story). Aristotle and Dante Discover the Secrets of the Universe is a novel centered around two queer Mexican American teenagers navigating the world around them while simultaneously trying to understand who they are. The story highlights the significance of identity in the psychological development of adolescents, illustrated through nationality, sexual orientation, and gender roles.
The top row of photos follows the idea of adolescent development. The photo in the top left shows a starry night in the desert, a picturesque scene that Ari enjoyed viewing quite often. Anytime he wanted to clear his mind, the stars would provide an escape. This represents Ari’s psychological development of his independence. He goes out of his way to ensure his autonomy, often jokingly referring to his mother as a fascist. Driving out to the desert and staring at the sky was method of self-reliance he could always depend on. As Laurence Steinberg and Susan B. Silverberg found in their study, The Vicissitudes of Autonomy in Early Adolescence, “Studies in the development of self-reliance… indicate that this aspect of autonomy increases steadily as youngsters move from the preadolescent to the late adolescent years” (p. 843). Saenz wrote Ari as a young boy fascinated with having a life that was his own to live, which is a very common pattern of thinking and behaving for teenagers. The picture in the top right is indicative of this development too, representing Ari’s use of silence as a coping mechanism. In one of his first conversations with Dante after the surgery, Ari says “Rule number one: We won’t talk about the accident. Not Ever” (p. 128). Ari chose to let the traumatic car accident live and fester inside him, reverting to silence in order to get by. Later in the story, we see a continuation of his development as he begins to open up more, eventually coming to terms with his identity and love for Dante. The center photo in the first row illustrates Ari’s constant questioning of masculinity and what ‘makes’ a man. This is evident in one of the earlier scenes in the story, when Ari overhears boys at the public pool make misogynistic comments about a woman lifeguard on duty. Gee, Allen, and Clinton found in their study, Language, Class, and Identity: Teenager Fashioning Themselves Through Language, that not only is language incredibly significant for adolescent development, but the language certain teens use is associated with the ‘type’ of person they are, much like how Ari feels as though the boys at the pool are a different ‘type’ of masculine.
The second row of photos revolves around Ari’s identity-forming through the people around him. The first photo in particular represents Ari and Dante’s Mexican American nationality. Ari seems to rarely question ‘how Mexican he is’, while Dante, on the other hand, actively tries to distance himself from his heritage. His fluency in Spanish and his understanding of Mexican culture is limited compared to Ari’s. Adolescent development does not only consist of forming an identity we like, but it also includes pushing out the parts of us we are unfamiliar or uncomfortable with. This conclusion is also reached in the third photo. This represents Ari’s imprisoned older brother who he knows little about for most his adolescence. While Ari wishes that he had been a more present figure in his life, he also knows that he does not want to go down the same path. His own identity conflicts for a moment: his love for Dante versus his brother’s crime against a transgender woman. The center photo depicts the activities that Ari and Dante’s parents – or more specifically, fathers – partake in together. It symbolizes the differences between the two. Ari’s father is reserved and stoic, while Dante’s is talkative and doting. Ari constantly compares the two as he tries to navigate the choppy waters of masculinity. Saenz writes, “I wondered what that would be like, to walk into a room and kiss my father” (p. 26). Ari is confronted with two contrasting versions of fatherly love and affection, and throughout the story we see him figure out his tolerated level of affection and silence from father figures.
The third row of photos highlights the part of Ari’s identity that focuses on sexual orientation and softness. The first photo represents his mother, who kept in constant communication with her sister, even after the rest of the family shunned her for being lesbian. The audience can tell that finding out about this has a significant impact on Ari. It simultaneously encourages and discourages him to come out. While he can be comforted with the notion that his parents would accept him, he was reminded of the way queer people were treated, not just by strangers, but also by family. The second photo represents one of the largest plot points of the story: Ari and Dante falling in love, or rather, falling in love and coming to terms with it. While Ari’s affection is obvious for the audience, it isn’t until the final pages when he himself understands that he likes Dante. Dante himself isn’t without his own struggles, he admits to Ari that he’s worried his parents won’t be happy about his identity because he wouldn’t be able to give them biological grandchildren. Angel Daniel Matos describes this phenomenon is his article, “A Narrative of a Future Past”, pointing out that “Because of this blame placed on queer people and communities, the engagement in practices that pressure reproductive logics is framed as non-normative…” (p. 35). Dante is not alone in his feelings of guilt, as Saenz likely understood from being gay himself. The last photo represents Ari’s initial uneasiness with crying and emotion. While he chalks it up to feeling emasculating, it seems to stem deeper than that. He likely associates a lack of masculinity with being queer and is in denial of both things. Dante, on the other hand, cries often and a lot. He is unashamed about showing emotion and it sometimes proved to be unnerving for Ari.
This novel contains healthy representation for queer and Latinx teenagers, while also accurately following the psychological development of identities amongst adolescents. This book was released around the time that most of my peers were coming to terms with their sexualities. I’ve had multiple conversations with Latinx queer friends, with some telling me that this story helped them accept their identity. This narrative is important, it provides young teenagers the reminder that growing up isn’t easy and self-discovery won’t be as magical as people say it will be, but when you allow yourself to love wholeheartedly, you become free. Aristotle and Dante Discover the Secrets of the Universe shows that there’s a lot more to the identity-forming of teenagers that can conflict and tangle together but gives hope that it can all come together in the end.
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References
Gee, James Paul, et al. “Language, Class, and Identity: Teenagers Fashioning Themselves Through Language.” Linguistics and Education, vol. 12, no. 2, 2001, pp. 175–194., doi:10.1016/s0898-5898(00)00045-0.
Matos, Angel Daniel. “A Narrative of a Future Past: Historical Authenticity, Ethics, and Queer Latinx Futurity in Aristotle and Dante Discover the Secrets of the Universe.” Children's Literature, vol. 47, no. 1, 2019, pp. 30–56., doi:10.1353/chl.2019.0003.
Sáenz Benjamin Alire. Aristotle and Dante Discover the Secrets of the Universe. Simon & Schuster BFYR, 2012.
Steinberg, Laurence, and Susan B. Silverberg. “The Vicissitudes of Autonomy in Early Adolescence.” Child Development, vol. 57, no. 4, 1986, p. 841., doi:10.2307/1130361.
aaron and rocco in the thing about jellyfish / alex and henry in red, white and royal blue
