All Academic, Inc. Research Logo

Info/CitationFAQResearchAll Academic Inc.
Document

Edge of Seventeen: Juvenile Agony and Youth Fantasies in New Queer Adolescence Films
Unformatted Document Text:  champ. Even in The Truth About Jane there is sort of erotic asymmetry between Jane, who is a short, delicate, shy high-school student living in an American upper-class suburb, and Taylor, who comes from a working class background (with an abusive mother) who is tall, self-confident, erotic and physically eccentric, as well as more mature than Jane. In particular, the first-sex scenes in these gay male adolescence films 2 highlight the erotic tension between the juvenile and the mature, the ‘twink’ and the ‘stud’, the seducer and the seduced. Jamie first gazes at Ste’s shapely physique, including his fully-exposed buttocks, when Ste changes clothes. Then Ste stays the night after he has been beaten by his violent father and older brother. A romantic soundtrack accompanies Jamie’s question of whether Ste would like him to rub menthol lotion on his bruised back. Jamie, who feels empathetic, compassionate and sexually aroused, carefully massages his friend’s muscular back. He compliments Ste’s body and asks him if he has ever kissed a guy before. Ste then refuses to turn around, apparently too embarrassed by his sudden erection. He also initially refuses Jamie’s request to lie near him but later agrees. Notably, the sissy boy is the one who “seduces” his masculine friend, the football team captain. After Jamie has kissed him briefly on his lips, Ste asks him if he thinks he is queer. Jamie replies that it does not matter what he thinks. He turns off the light and gently caresses Ste’s bruised body. The sexual act itself is not shown. The next scene (the following morning) is accompanied by Richard Rodgers’ hit song “Sixteen Going on Seventeen” on the soundtrack, and the image of Jamie’s mother Sandra and her younger boyfriend Tony lying naked in bed is cross edited, and thus analogized/equalized with Jamie and Ste sleeping naked together in Jamie’s room, with Ste hugging his friend’s back. Ste wakes, dresses, and silently leaves the room. 2 ˜ Until the British Channel Four’s series Queer as Folk was broadcast in the late 1990s, followed by an extended American adaptation in early 2000, there were almost no homosexual sex scenes in television films, soap operas and sitcoms. When homosexual genital activity was depicted (or suggested) among adolescents and young adults in television movies in the 1980s and early 1990s, it was often identified as the result of some intense, overpowering social force, such as violence and imprisonment, madness and military service, or poverty and a dysfunctional family environment (Kielswasser and Wolf 1992, pp. 361-2). Alfred P. Kielswasser and Michelle A. Wolf agree that gay and lesbian adolescents may find themselves in such situations, but note that these situations do not create gay or lesbian identities. “On television, a young straight male may lose his virginity simply as part of “growing up” … [but] the “homosexual” loss of virginity for a young male, if it were to be explored on television, would portray him not as the proud voice of a gay identity but as another pathetic victim of situational homosexuality” (Kielswasser and Wolf 1992, pp. 361-2).

Authors: Padva, Gilad.
first   previous   Page 6 of 24   next   last



background image
champ. Even in The Truth About Jane there is sort of erotic asymmetry between Jane,
who is a short, delicate, shy high-school student living in an American upper-class
suburb, and Taylor, who comes from a working class background (with an abusive
mother) who is tall, self-confident, erotic and physically eccentric, as well as more
mature than Jane.
In particular, the first-sex scenes in these gay male adolescence films
2
highlight the
erotic tension between the juvenile and the mature, the ‘twink’ and the ‘stud’, the
seducer and the seduced. Jamie first gazes at Ste’s shapely physique, including his
fully-exposed buttocks, when Ste changes clothes. Then Ste stays the night after he
has been beaten by his violent father and older brother. A romantic soundtrack
accompanies Jamie’s question of whether Ste would like him to rub menthol lotion on
his bruised back. Jamie, who feels empathetic, compassionate and sexually aroused,
carefully massages his friend’s muscular back. He compliments Ste’s body and asks
him if he has ever kissed a guy before. Ste then refuses to turn around, apparently too
embarrassed by his sudden erection. He also initially refuses Jamie’s request to lie
near him but later agrees. Notably, the sissy boy is the one who “seduces” his
masculine friend, the football team captain. After Jamie has kissed him briefly on his
lips, Ste asks him if he thinks he is queer. Jamie replies that it does not matter what he
thinks. He turns off the light and gently caresses Ste’s bruised body. The sexual act
itself is not shown. The next scene (the following morning) is accompanied by
Richard Rodgers’ hit song “Sixteen Going on Seventeen” on the soundtrack, and the
image of Jamie’s mother Sandra and her younger boyfriend Tony lying naked in bed
is cross edited, and thus analogized/equalized with Jamie and Ste sleeping naked
together in Jamie’s room, with Ste hugging his friend’s back. Ste wakes, dresses, and
silently leaves the room.
2
˜ Until the British Channel Four’s series Queer as Folk was broadcast in the late 1990s, followed by an
extended American adaptation in early 2000, there were almost no homosexual sex scenes in television
films, soap operas and sitcoms. When homosexual genital activity was depicted (or suggested) among
adolescents and young adults in television movies in the 1980s and early 1990s, it was often identified
as the result of some intense, overpowering social force, such as violence and imprisonment, madness
and military service, or poverty and a dysfunctional family environment (Kielswasser and Wolf 1992,
pp. 361-2). Alfred P. Kielswasser and Michelle A. Wolf agree that gay and lesbian adolescents may
find themselves in such situations, but note that these situations do not create gay or lesbian identities.
“On television, a young straight male may lose his virginity simply as part of “growing up” … [but] the
“homosexual” loss of virginity for a young male, if it were to be explored on television, would portray
him not as the proud voice of a gay identity but as another pathetic victim of situational
homosexuality” (Kielswasser and Wolf 1992, pp. 361-2).


Convention
All Academic Convention makes running your annual conference simple and cost effective. It is your online solution for abstract management, peer review, and scheduling for your annual meeting or convention.
Submission - Custom fields, multiple submission types, tracks, audio visual, multiple upload formats, automatic conversion to pdf.
Review - Peer Review, Bulk reviewer assignment, bulk emails, ranking, z-score statistics, and multiple worksheets!
Reports - Many standard and custom reports generated while you wait. Print programs with participant indexes, event grids, and more!
Scheduling - Flexible and convenient grid scheduling within rooms and buildings. Conflict checking and advanced filtering.
Communication - Bulk email tools to help your administrators send reminders and responses. Use form letters, a message center, and much more!
Management - Search tools, duplicate people management, editing tools, submission transfers, many tools to manage a variety of conference management headaches!
Click here for more information.

first   previous   Page 6 of 24   next   last

©2012 All Academic, Inc.