![]() ![]() The narratives often embraced tropes of the ‘predatory queer’ or the ‘monstrous queer’ in order to declare themselves visible while cinematic queers were elbowed out of the way. The horror film in particular, found it’s place asserting a queer presence on screen. The villain, fiend or monster plays around with a variety of elements that while usually separate, might merge male and female gender traits. ![]() The horror genre crosses over boundaries that include transgressions between heterosexuality and queerness. The horror genre is perhaps the most iconic coded queer playground, which seems to have an affinity with homosexuality because of it’s apparatus of ‘otherizing’ and the inherent representation of difference. Though Hollywood execs refused to show explicit queerness, they were willing to pay for scripts that dealt with characters that were social outcasts and sexually nonnormative. Horror films in particular have made for a fascinating case study in the evolving perceptions of queer presence queer-horror filmmakers and actors were often forced to lean into the trope of the “predatory queer” or the “monstrous queer” to claim some sense of power through visibility and blatant expressions of sexuality.- Essential Queer Horror Films by Jordan Crucciola-2018 “As a cultural index, the pre-Code horror film gave a freer rein to psychic turmoil and social disorientation because it possessed a unique freedom from censorship… the Hays Office admits that under the Code it is powerless to take a stand on the subject of ‘gruesomeness.‘(Thomas Doherty) ![]() “Scenes of excessive brutality and gruesomeness must be cut to an absolute minimum…” CODED CLASSIC HORROR THEORY “The Uncanny & The Other” ![]()
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