Simply by coining the phrase “queer cinema,” we are informed as audiences that to be queer in film puts you in a different category than mainstream cinema. Queer films have historically had very specific spaces in cinema, we see examples of these spaces listed in Queer World Cinema by Rosalind Galt and Karl Schoonover, such as film festivals, art-house theaters, mainstream theaters, community centers, pornographic theaters or stores, in underground film markets, and the internet. While mainstream cinema can be found in these same places, the difference is that queer cinema and mainstream cinema do not thrive in the same environments. It has formed a sense of community and intimacy with queer cinema, especially at European film festivals such as the Berlin Film Festival. It is interesting to consider how queer films have become more mainstream, and thankfully have improved visibility somewhat. But it is unfortunate that with more visibility and opportunity to showcase queer stories, comes the misuse of stereotypes that could be harmful for audiences. Especially considering that societies often have a “collective psyche” of sorts, which affects the norms of the civilization. This collective psyche is heavily affected by our media and culture, and the film industry is perhaps the most influential. Therefore if the mainstream cinema shares queer stories in an irresponsible or stereotypical way, this could affect how LGBTQ+ communities are viewed and treated. 

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The visibility and acceptance of queer identities has always been sought out by LGBTQ+ members, though the manner in which we go about it has changed and evolved throughout the years, and varies between societies. However, for most Western societies, the act of “coming out” has become an act of bravery and confidence in one’s sexuality, which in the past has been a source of fear and contention. It is a form of rebellion against normativity and an act of revolution against the long-standing homophobia that is present in our history. It is common for queer individuals to attack stereotypes by being self aware of these false identities given to them by heterosexual media, which is present in the film Law of Desire, directed by Pedro Almodóvar. The film’s self awareness and teasing of itself alongside its purposeful and vibrant aesthetics makes it a brilliant film, as it is the epitome of visibility, the same voice that queer communities wish to maintain, saying, “see me for all that I am.” 

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Like the word “queer” itself, gay identities in cinema have been reclaimed. The word queer originally existed to create a label of difference, to attack men who showed emotion or feminine mannerisms, to create outcasts out of the LGBTQ+ community. While this word has not been reclaimed by all, and for some is still uncomfortable, but it is fantastic that we have been able to reclaim at least a portion of painful history and evolve it into something beautiful and unique. It goes to show that language and linguistics play a major part in our identities, and in cinema, as queer cinema has become an extremely successful and impactful subgenre of the film industry. I am always curious to see how the film industry evolves, and hopefully American queer films will become as intimate and challenging as European queer cinema has become.

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