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Transphobia in film: selected quotations
Several of the most popular films in American history have imagery that suggests transgenderism. Unfortunately, the theme is usually connected to fear and hatred of transgender people. I will be analyzing pertinent quotations as part of my project on media depictions of gender conditions. Which will we be this time? Prostitute, psychopath, or punchline? Psycho
This horror classic forged what may be an unbreakable link between transgenderism and psychosis in American film. Hitchcock was fascinated by psychology, and many of his films reflect pop-psychology theories of his day. Hitchcock was also fascinated with portraying the queer community as dangerous (see Robin Wood's "Murderous Gays: Hitchcock's Homophobia" for the best overview). In Psycho, Hitchcock spins a masterful film from a novel and screenplay based loosely on serial killer Ed Gein. Gein had been captured a few years before in 1957, and he became the subject of a lot of pulp novels and true-crime stories. Hitchcock obviously had to tone it down to get past the Hayes Code, but he still managed to create an effectively terrifying film. Psycho was the first film to use the word "transvestite" in it, which gives a sense of the sexually repressive environment under which Hitchcock explored his characters. Film critics frequently discuss the peculiar exposition at the end of the movie, after killer Norman Bates has been captured and a psychiatrist named Dr. Richmond appears to explain everything in an impromptu lecture.
Modern audiences typically laugh at the "he's a transvestite" line when watching the original (I've seen two audiences do this myself), and it is interesting to note that one of the few changes Gus Van Sant made in his frame-by-frame 1998 remake of the original is to drop all this. In the Van Sant version, not only is this dialogue omitted, but the reveal of Norman Bates as "Mother" makes much less of the wig and dress than the original with Tony Perkins. The Norman Bates character is also less effeminate and much more sexual in the Van Sant version. These small changes in Van Sant's version do little to change the overall visual impression that crossdressing is a symptom of psychotic behavior. All in all, Psycho still stands as one of the finest films ever made,
as well as one of the most negative iconic images of crossdressing and transgenderism
in American culture. Silence of the Lambs
In the scene below, imprisoned psychopath Hannibal Lecter and FBI agent Clarice Starling discuss how to find Mr. Gumb, a disturbed serial killer who is nicknamed Buffalo Bill. Lecter calls Mr. Gumb "Billy" throughout.
Suddenly Dr. [Lecter] snarls, loudly, stretching. Clarice take a sharp step backwards before he smiles, turning his movement into an elaborate yawn. He gathers the papers from his tray.
CUT TO: INTERIOR. MR. GUMB'S CELLAR - DAY VERY CLOSE ON a cocoon, split along its back, as a living Death's-head Moth
wriggles torturously free. Trembling and damp, the new creature clings to a
sprig of nightshade.
PULLING BACK - we see a big wire cage, holding several of the moths. They crawl over the humus floor or feed at honeycombs, wings pumping lazily. In the distant b.g., the incongruous SOUND of show music.
CONTINUOUS MOVING ANGLE - at about knee level, as we leave the cage, and begin to TRAVEL through this eerie, dimly-lit warren of a cellar. As we go - occasionally TURNING corners, or skirting the dark openings of unexplored passages - various objects loom briefly INTO VIEW, overhead - a stainless-steel work table... a big sink... jars of chemicals... neat racks of gleaming knives...
We pass a row of female mannequins, some nude, some wearing colorful leather jackets, designer knockoffs, in various stages of completion... then a huge maroon armoire, in Chinese lacquer; its double doors are slightly ajar... The jaunty b.g. MUSIC is growing even louder: Fats Waller singing "Bye Bye Baby." And now we hear something else, too - the rapid CLICKING of a sewing machine...
We TURN another corner, and there is Mr. Gumb himself. As we APPROACH, his wide back is to us; he's hunched over an old-fashioned sewing machine, humming cheerfully, and working a piece of material that we mercifully cannot see. A female wig rests near him on a head form. He wears a hairnet and a beautiful kimono, and pumps the treadle with his bare feet.
Next to Mr. Gumb is an antique phonograph - source of the MUSIC. His little dog, Precious, perches by his plump ankles. As we PASS Mr. Gumb, Precious scurries away from him, panting happily, and we FOLLOW the little dog down another corridor, the music starting to fade behind us...
--- It's hard to explain away the disturbing images of the killer putting on lipstick and saying to a mirror "Would you fuck me? I'd fuck me. I'd fuck me so hard" to his own image or tucking his genitals between his legs and screaming/moaning while naked. Even though this does not depict transsexualism, a picture says a thousand words. Stung by criticism that his portrayal had caused harm to the GLBT community, Silence of the Lambs director Jonathan Demme made Philadelphia as his next feature film, but by then, the damage was done, and over a decade later, this film remains inexorably linked to "transsexuals and their like," as Bailey pointedly states in his book. The Crying Game
For those of you too young to remember when this film came out, there was an amazing buzz which was quite remarkable, because most people did not divulge the "big surprise." As with the other films listed here, it's a great one which I recommend seeing. However, as with the others, there are some disturbing connotations to the depiction of transgenderism and how it is used as a trope or cipher. Below are two famous scenes: The love scene when Fergus (whom she knows as Jimmy) learns Dil is transgender, and the climactic scene where Dil shoots Jude. The love scene CLOSE ON HIS HANDS, traveling down her neck, in the darkness. Then the hands stop. The kimono falls to the floor gently, with a whisper. The camera travels with it, and we see, in a close-up, that she is a man. Fergus sits there, frozen, staring at her.
Fergus says nothing.
She gives a strange little laugh, then reaches out to touch him. Fergus smacks the hand away.
He gets up and runs to the bathroom. She grabs his feet.
He kicks her away. He runs into the bathroom and vomits into the tub. She crouches on the floor.
He retches again.
She lights a cigarette. Fergus runs the taps. He washes his face, rinses his mouth.
Fergus slams the door shut. She is sitting on the couch, the kimono round her once more, looking very much like a woman. A trace of blood on her mouth.
Fergus comes out of the bathroom.
She looks up. Some hope in her face.
And he makes to go. She grabs him to stop him.
He pulls away from her. She falls to the floor.
He drags himself away and runs down the stairs. ------------------------------------------------------- The shooting scene [Dil has Fergus tied up at gunpoint when his female IRA accomplice Jude bursts in. Dil shoots her.]
Jude, on the floor, reaches for her gun. Manages to grab it.
Dil shoots again, like a child, playing with a toy. She hits Jude in her gun shoulder. Jude spins one way, the gun the other.
Fergus screams
As she raises the gun, Dil shoots her repeatedly, saying:
Fergus screams from the bed. He rips free his other arm. Dil shoots Jude in the throat, and she falls dead, covered in blood. Dil turns the gun on Fergus.
--- For some interesting discussions of race, sex, gender, misogyny, and nationalism in this film, I recommend starting with the articles at the link below: http://www.lib.berkeley.edu/MRC/cryinggame.html Ace Ventura: Pet Detective
Following the success of The Crying Game, there were several parodies in subsequent movies. Perhaps the most famous is the broad comedy Ace Ventura. When the Miami Dolphins' mascot Snowflake is stolen just before the Superbowl, Ace Ventura is put on the case. In the climactic scene, Ace has a confrontation with Lois Einhorn, who Ace believes used to be a disgraced Miami Dolphins kicker named Ray Finkle, who was bent on revenge against teammate Dan Marino and the rest of the team. While the "Crying Game" song plays, an enormous crowd mimics the vomiting scene from the original as they stare at the disrobed transsexual villain.
Ace gasps for air. Everyone is totally confused.
Ace walks over to her.
Ace dramatically pulls at Einhorn's hair, thinking it's a wig. Einhorn's head flies back. The hair is real. Ace keeps tugging it. The SWAT team ready themselves.
Ace rips open Einhorn's blouse, and reveals two beautiful feminine breasts. The sharp shooters are tensing. Ace is laughing nervously now.
Ace rips off Einhorn's skirt. Einhorn now stands there fully nude. She appears to be the perfect figure of a woman.
Ace looks at Melissa and Emilio and shrugs his shoulders. Then, just when it seems all is lost, Dan Marino who is back behind Einhorn, motions for Ace to come over.
Ace goes to Dan. Melissa still holds Emilio hostage.
Marino whispers something in his ear. Ace looks confident again. He once more addresses the crowd.
Ace spins Einhorn around now, exposing to the world, the healthy set of male genetalia that Finkle has learned to keep tucked between his legs. (And if we have any balls, we'll actually show it.) Everyone gasps. CLOSE UP ON EINHORN/FINKLE. He finally drops the facade.
Quick cuts of all the cops spitting with disgust. Then Emilio spits. Then CLOSE ON Marino spitting. They all have kissed her/him/it. Even Snowflake blows his spout. Ace confidently cracks a sunflower seed.
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(Alfred Hitchcock, 1960)