queer-coding and gay subtext have always been a part of queer cinema whether as a result of censorship or not.
analysing and headcanoning characters we see on screen as queer is very personal to queer audience, because representation does matter in a lot of cases.
FROM “bury the gays”, gays as miserable depressed failures or toxic murderous villians to be looked down upon, TO “we support gay rights AND gay wrongs”, “be gay do crime”, “toxic codependent doomed yuri” as a celebration, we’ve come a long way. ppl had worked hard to make wholesome queer stories to appear on screens, now we are making sure queer relationships shouldn’t necessarily be wholesome to be respected. it’s just like reclaiming “queer” which was used as a slur. like cishets, queerness should be ubiquitous in all kinds of media :)
从本纪录片完成的九十年代中期到现在，将近三十年过去了，银幕上的酷儿形象也是变了更多呢。在经历了相对自由百花齐放的2010s，现在全球右转保守主义抬头，fandom中purity culture也越来越流行…可能会有更多对酷儿创作不明说的条框。虽然角色可以光明正大贴上酷儿标签，但（西方）观众对酷儿角色的要求也会更多：呈现sex scenes会被说在sexualise/fetishise性少数，人物性格toxic或者落入stereotypes里会被说是bad representation，不明确角色间的浪漫关系会被质疑有queerbaiting嫌疑。不管怎样还是希望影视艺术是自由表达的，在尊重的基础上能有更多diversity。除了heartstopper那种作品，我们也很需要problematic queers. after all we are all just human beings.
