Sample proposal
1. Introduction
2. Literature review
3. Methodology
B. MÔ TẢ NGHIÊN CỨU
B1. Lý do chọn đề tài - Rationale
The rationale for our research centers on the opportunity to examine American culture
through the lens of gay representation in popular films. Characterized by its diversity,
American culture is significantly shaped by the portrayal of gay individuals in media. Our
study specifically focuses on gay depiction in American films from 2000 to 2020, a period
marked by transformative events that have highlighted significant shifts in societal attitudes.
During these two decades, more films have featured gay characters in complex roles that
challenge stereotypes, while the legalization of same-sex marriage in 2015 and the open
embrace of homosexual identities by public figures have normalized discussions about
sexuality. This evolution reflects a broader cultural shift toward inclusivity and diversity.
By focusing on gay representation, our research addresses vital areas of cultural studies,
emphasizing the evolving discourse surrounding identity, inclusion, and social justice. This
exploration fosters a deeper understanding of how cultural products - such as films,
television shows, and literature - reflect and influence societal attitudes toward homosexual
individuals. Within the Vietnamese context, this study is especially relevant for the Cultural
Studies Department at the University of Social Sciences and Humanities, as well as similar
institutions, since it enhances understanding of how cultural narratives both shape and are
shaped by societal beliefs and individual identities. By integrating our findings into the
curriculum, instructors can enrich classroom discussions on diversity and representation,
challenge prevailing stereotypes, and equip students with the critical tools necessary to
navigate and contribute positively to a diverse society. Ultimately, our research contributes
to a broader understanding of the cultural dynamics at play in contemporary America, while
also fostering an inclusive academic environment that values diverse perspectives.
B2. Tổng quan tình hình nghiên cứu
1. Queer theory
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1.1. The definition of queer theory
Queer theory is a post-structuralist critical theory that emerged in the early 1990s from
queer studies and women's studies. It focuses on the study of gender and sexual practices
outside of heterosexuality, challenging the idea that heterosexuality is the norm. By
critiquing essentialist views of sexuality and gender, queer theorists examine these concepts
as social and cultural phenomena by exploring the categories, binaries, and language used to
represent these identities (Ranjan, 2019, 90).
1.2. Prominent theoretical works
In exploring queer theory, key works from pioneering theorists such as Judith Butler, Eve
Kosofsky Sedgwick, and Michel Foucault offer critical insights into the complexities of
gender and sexual identity.
In her foundational work, “Gender Trouble” (1990), Butler argues that gender is not an
inherent identity but rather something that people "do" through acts and behaviors,
detaching it from biological distinctions (Pramaggiore, 2013, 1). This performative process
suggests that gender is "performatively produced and compelled by the regulatory practices
of gender coherence," challenging the notion of a true or false gender identity (Butler, 1990,
33). Butler (1993) further develops her ideas in “Bodies That Matter”, positing that
performativity must be understood as “the reiterative and citational practice by which
discourse produces the effects that it names” (13). Regulatory norms surrounding "sex"
operate performatively to constitute bodies, materializing sexual differences to consolidate
the heterosexual imperative, intertwining power with identity and shaping the subject
through exclusion and abjection (ibid, 14).
Foucault’s three-volume “The History of Sexuality” (1977-1984) complements Butler’s
arguments by challenging the “repressive hypothesis” that views sexuality as a “natural”
aspect constrained by culture (Pramaggiore, 2013, 1). In the first volume, Foucault (1981)
argues that cultural norms produce an increasing discourse about sex, engaging in a
complex interplay of control and expression (23). He notes that sex became a "police"
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matter in the eighteenth century, illustrating how power operates through both prohibitions
and the normalization of sexual discourse (ibid, 24-25).
Similarly, Sedgwick (1990) critiques traditional models of sexual identity in “Epistemology
of the Closet”, examining the closet as both a duplicitous social practice and a legal double
bind, where the legal system demands the erasure and acknowledgment of homosexuality
(Pramaggiore, 2013, 1). She identifies two primary contradictions: the first contrasts a
minoritizing view of sexual identity relevant to a distinct homosexual minority with a
universalizing view that recognizes its significance across all sexualities (Sedgwick, 1990,
1). The second involves the perception of same-sex attraction as either a liminal space
between genders or an impulse toward separation, illustrating how the closet shapes identity
expression within societal norms (ibid, 2).
2. The portrayals of gay characters in mainstream American films
2.1. Definition of key terms
Gay characters are fictional representations of individuals who identify as homosexual,
signifying their attraction to other men.
The portrayal of gay characters refers to the representation of individuals who identify as
gay on the screen. This encompasses various aspects, such as the characters' roles,
storylines, relationships, and the manner in which their sexual orientation is depicted. It also
involves considering the broader context of these portrayals, including the cultural and
historical factors that influence their representation.
2.2. Definition of mainstream American films
Mainstream American films are commercially produced films aimed at a broad audience,
characterized by high production values, well-known actors, and popular genres. These
films are typically distributed by major studios and rely heavily on marketing and box office
revenue to succeed, reflecting societal norms and popular culture in the U.S.
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2.3. The historical context and the evolution of the portrayals of gay characters in
mainstream American films prior to the 2010s
The history of queer visibility in Hollywood cinema is marked by continuous
reinterpretations, particularly around the Production Code, which serves as a pivotal
moment in the narrative of gay liberation. During the Production Code era (1934-1968), the
closet-as-screen aimed to keep same-sex intimacy off screens, largely adopted by industry
professionals who believed mainstream American audiences were not prepared for the
“nominal representation of same-sex desire” (Kohnen, 2015, 44). Benshoff and Griffin
(2004) state that although the Code was revised in 1961 to allow limited depictions of
homosexual subject matter, its abolition in 1968 marked a significant shift, replacing it with
a ratings system that transferred content responsibility to audiences (93). Before denotative
representations emerged, queer visibility primarily manifested through “connotation”—
using gestures, iconography, and character types. This allowed for the presence of queer
images, including characters deemed “too feminine” or “too masculine” (ibid, 47). Notably,
Vito Russo’s “The Celluloid Closet” (1981) traces a thread of queer portrayals through
films like “Some Like It Hot” (1959) and “Rebel Without a Cause” (1955), challenging the
notion that queer characters were entirely invisible (ibid, 45). With the end of the
Production Code, Hollywood experienced a moment of coming out, allowing for depictions
of queer characters and storylines, with “The Boys in the Band” (1970) offering a glimpse
into gay and lesbian lives (ibid, 48).
In contrast, the late 1940s saw the emergence of Hollywood's underground through film
noir, characterized by dark themes and complex narratives. According to Dyer (2002), these
thrillers reintroduced marginalized representations of homosexuality, depicting decadent
queens and predatory dykes that conveyed inner turmoil (120). This underground tradition
became a vital space for gay men and lesbians to represent themselves in ways mainstream
filmmaking did not permit. The connections between the underground and artistic avant-
gardes highlighted the perception of homosexuality as a rejection of mainstream U.S. life
(Dyer, 1990, 110). In this context, Warhol's films emerged as a significant force,
showcasing diverse marginalized figures that challenged tragic portrayals while
simultaneously embracing Hollywood's artificiality. He famously stated, "I love Los
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Angeles... Everybody's plastic—but I love plastic," a sentiment that reflects the complex
relationship between queer identity and mainstream culture, highlighting the tension and
interplay between authenticity and artifice (ibid, 152-153).
Transitioning into the 1990s, the backdrop of underground representation paved the way for
increased acceptance of queer themes and characters, though challenges remained. This era
saw homosexuals no longer confined to tragic roles but living varied lives, as exemplified in
films like “My Best Friend's Wedding” and “In and Out” (Aaron, 2004, 9). However, this
mainstream acceptance sparked critical responses, with queer cultural criticism often
differentiating itself from traditional politics that champion positive images. Stacey (1995)
notes that critics argued for a focus on independent works that explore the “hidden side of
queer lifestyles” rather than conforming to Hollywood norms (93).
This perspective is embodied in New Queer Cinema, characterized by irreverence and
defiance, as seen in films like “Swoon” (1991) and “The Hours and the Times” (1991)
(Benshoff & Griffin, 2005, 220). This movement challenged not only mainstream
homophobia but also bourgeois gay identities, critiquing the notion of “correct” lesbian or
gay identities. New Queer films flaunted “negative” images to raise controversial issues
while celebrating diverse sexualities. These films also highlighted the social forces
regulating sexuality, although some audiences felt they merely recirculated “negative”
stereotypes (ibid, 221). Moreover, New Queer Cinema frequently questioned essentialist
models of sexual identity, illustrating how terms like "gay" and "lesbian" often fail to
capture the complexity of human experience (ibid, 11).
3. Audience reception
While the historical context illustrates a gradual evolution toward more authentic portrayals
of queer characters in American cinema, audience reception reveals a stark contrast, often
dominated by negative perceptions and resistance, especially during the New Queer Cinema
period. Benshoff and Griffin (2004) mention the practice of New Queer Cinema in the early
1990s faced significant criticism, particularly from conservative filmgoers who believed
such subjects should remain unspoken (10). Many viewers accused the movement of
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recirculating negative stereotypes, such as the queer psycho-killer. While films like
“Swoon”, “The Living End”, and “Heavenly Creatures” attempted to illustrate how social
forces and sexual repression can lead to violence, some audiences still perceived them as
reinforcing harmful stereotypes. This backlash was compounded by accusations of elitism,
as New Queer Cinema often engaged with complex issues of queer and postmodern theory,
making it rigorous and difficult for many spectators to access. As a result, both queer and
straight audiences may prefer "feel-good" Hollywood-style movies with happy endings, a
preference echoed in works by gay and lesbian independent filmmakers (ibid, 12). This
inclination is evidenced by how moviegoers showed greater comfort with films that relied
on familiar stereotypes, as seen in comedies like “To Wong Foo, Thanks for Everything,
Julie Newmar” (1995) and “The Birdcage” (1996), where drag queens were used primarily
for comedic effect rather than for a genuine queer deconstruction of gender roles (ibid, 15).
This dynamic, as Russo (1981) reveals, creates a Hollywood trap where the success of a
film is often judged by its ability to persuade audiences to accept homosexuals based on the
notion that they are "just like everyone else" (271). Consequently, when viewers are invited
to laugh at the sight of men literally sleeping with each other, they may miss the opportunity
to take these relationships seriously. This tendency to trivialize queer experiences is
encapsulated in a historical perspective, as one newspaper article notes, "Laughing at him
will do as much to cure him as compulsory football" (Anon, 1922, 2). Criticism of
Hollywood’s representations of gay characters, particularly the sissy and fop, has been
prevalent since the publication of Vito Russo’s “The Celluloid Closet” in 1981, although it
remains unclear how these stock characters were perceived by audiences at the time
(Brown, 2016, 75).
The exploration of queer representation in cinema, particularly in the context of “The
Talented Mr. Ripley”, reveals significant gaps in public understanding of queer identity and
its portrayal in mainstream media. As Kohnen (2015) notes, terms such as "queer" and
"homosexual repression" are often not readily comprehended by the general public, making
these concepts somewhat alien to the "narcissistic identificatory pleasures of Hollywood
cinema.” This disconnect is reflected in the cinematic spectatorship experience, where
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American audiences seem more inclined to empathize with "amoral sociopaths" than with
queer characters, highlighting a preference for familiar archetypes over complex queer
identities (178). Critics' responses to “The Talented Mr. Ripley” often missed the film's
nuanced portrayal of Tom Ripley, who is depicted as a character "doomed to kill in order to
preserve the lie he has made of his own life.” While some reviewers acknowledged the
emotional complexity of the character, many dismissed the film's themes as "absurd" or
"silly," failing to grasp the underlying commentary on sexual repression and identity
struggles (ibid, 181). This lack of understanding perpetuates the conflation of queerness
with violent behaviors, a stereotype that has long plagued depictions of gay individuals in
media.
4. Conceptual framework
Building on the insights gathered from this literature review, the following conceptual
framework will guide the analysis of gay characters in American films from 2000 to 2020.
This framework begins with queer theory, drawing on insights from foundational works
from pioneering theorists such as Judith Butler, Michel Foucault, and Eve Kosofsky
Sedgwick to examine how gender and sexuality are constructed and represented. Butler's
notion of performative gender will guide the analysis of how gay characters enact their
identities, while Foucault's ideas will inform the exploration of how societal norms shape
these portrayals. Sedgwick's emphasis on the complexity of sexual identities and the
interplay of desire will further enrich the analysis. The framework also emphasizes the
historical context, utilizing queer cinema studies - a major category of queer theory - as
articulated by theorists such as Vito Russo, Richard Dyer, Benshoff, and Griffin. This
historical perspective traces the evolution of gay representation from the era of the
Production Code, which constrained portrayals of gay characters through censorship and
coded imagery, to more open representations following the Code's decline. This includes an
examination of New Queer Cinema, particularly through Aaron's critical studies, which
emerged as a response to earlier limitations and aimed to challenge conventional narratives.
Audience reception is another crucial aspect, framed within queer cinema studies and
informed by theorists like Vito Russo, Benshoff and Griffin, and Kohnen. This section
explores the varied responses to complex portrayals, often dominated by negative
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perceptions and resistance, particularly regarding New Queer Cinema. It highlights the
tension between mainstream acceptance and the persistence of simplistic stereotypes,
illustrating how these negative perceptions can overshadow more nuanced representations.
This comprehensive approach will enable a critical engagement with the evolving portrayal
of gay identities in mainstream cinema.
Judith Butler
Foundational
Michel Foucault
works
Eve Kosofsky
Sedgwick
Queer theory
Censorship
Production Code
Gay character Historical
portrayal context Coded characters
Queer Cinema
Audience Negative
Studies Post Production Denotative
reception audience
Code representations
perceptions
New Queer
Cinema
Conceptual framework diagram
B3. Mục tiêu nghiên cứu
The goal of this research is to analyze the depiction of gay characters in mainstream
American films from 2000 to 2020. By engaging with queer theory, this study aims to
explore how contemporary cinematic representations have challenged conventional
stereotypes, fostering more nuanced portrayals of gay characters.
B4. Đối tượng và phạm vi nghiên cứu
B4.1. Phạm vi nghiên cứu
B4.1.1. Phạm vi không gian
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The geographical scope of our research is primarily focused on American society,
examining gay representation in media within the context of the United States, from the
1970s - when the gay rights movement began to gain visibility and representation in media -
to the present day, where homosexual representation has evolved dramatically.
B4.1.2. Phạm vi thời gian
This research will be conducted during the 2024 - 2025 academic year.
B4.2. Đối tượng nghiên cứu
Our sample includes five mainstream American films released between 2000 and 2020 that
prominently feature gay characters and storylines, including “Brokeback Mountain” (2005),
“Milk” (2008), “Prayers for Bobby” (2009), “Call Me by Your Name” (2017), and “Love,
Simon” (2018).
B5. Phương pháp nghiên cứu
Our group has formulated two research questions to explore the representation of gay
characters in mainstream American films from 2000 to 2020 through the lens of queer
theory:
1. How has the characterization of gay characters in mainstream American films from 2000
to 2020 evolved in terms of reinforcing and challenging conventional stereotypes within
the context of queer theory?
2. How has the narrative structure of mainstream American films from 2000 to 2020
evolved to accommodate more nuanced portrayals of gay characters through the lens of
queer theory?
In order to analyze the evolution of gay characterization throughout the two decades, we
will focus on several key aspects. We will begin with stereotype subversion, examining how
gay characters challenge traditional archetypes, such as the "effeminate" and “flamboyant”
gay man. Next, we will assess the complexity and depth of these characters. Our goal is to
highlight how they are developed beyond their sexual orientation, showcasing multifaceted
personalities and rich backstories that position them as fully realized individuals rather than
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just one-dimensional figures confined to their sexuality. We will also explore the extent of
agency and autonomy among gay characters by analyzing how they navigate their stories
and make independent choices.
Transitioning to narrative structure, we will analyze the plot arcs of gay characters. To be
more specific, we will examine the trajectory of their journeys, considering whether they
experience growth, transformation, or face significant challenges. Finally, we will assess the
resolution of their stories, considering whether they conclude happily, tragically, or
ambiguously.
In terms of research design, we believe that a qualitative approach is particularly well-suited
for this study. This method allows for the collection of rich, non-numerical data through
detailed analyses of film content, including dialogues, character interactions, and narrative
structures.
Regarding research instruments, we will primarily employ queer theory along with five
mainstream American films from 2000 to 2020 – “Brokeback Mountain” (2005), “Milk”
(2008), “Prayers for Bobby” (2009), “Call Me by Your Name” (2017), and “Love, Simon”
(2018).
The rationale for selecting these films lies in their high viewership and positive ratings on
platforms like IMDb and Rotten Tomatoes, as shown in the summary table below. These
ratings reflect not only their popularity but also the favorable sentiment among audiences.
This positive reception has fostered substantial audience engagement, sparking discussions
on social media and within film communities.
Movie Rotten Tomatoes IMDb
1 Brokeback Mountain 82% (250,000+ Ratings) 7.7/10 (391,000+ Ratings)
2 Milk 89% (100,000+ Ratings) 7.5/10 (181,000+ Ratings)
3 Prayers for Bobby 86% (1,000+ Ratings) 8.0/10 (18,000+ Ratings)
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4 Call Me by Your Name 86% (10,000+ Ratings) 7.8/10 (326,000+ Ratings)
5 Love, Simon 87% (5,000+ Ratings) 7.5/10 (128,000+ Ratings)
Moreover, these films have garnered significant media coverage, receiving praise from
prominent outlets such as The New York Times, Variety, and The Guardian. Each has
achieved critical acclaim, winning prestigious awards like the Oscars, Academy Awards and
Golden Globes, further validating their artistic merit and thematic importance. This
extensive recognition underscores their relevance in the context of queer representation in
mainstream cinema, making them valuable subjects for qualitative analysis.
While their widespread acclaim underscores their cultural significance in contemporary
cinema, the films also serve as critical examples of the evolving portrayal of gay identities,
making them ideal subjects for analysis. To delve further, the films collectively illustrate the
evolution of characterization, tropes, and plot arcs in depicting gay identities. They
transition from the conflicted and tragic narratives of "Brokeback Mountain," "Milk," and
"Prayers for Bobby" to the bittersweet exploration of love in "Call Me by Your Name,"
culminating in the more positive and affirming narratives in "Love, Simon." The resolutions
evolve from themes of societal rejection and personal tragedy to acceptance and celebration
of love, mirroring broader societal changes toward gay individuals. Additionally, each film
explores distinct themes: "Brokeback Mountain" addresses love and identity under
repression; "Milk" highlights activism for gay rights; "Prayers for Bobby" examines family
dynamics and rejection; "Call Me by Your Name" captures the bittersweet nature of first
love; and "Love, Simon" emphasizes coming-of-age and acceptance. This thematic diversity
allows for a comprehensive analysis of how these narratives contribute to the evolving
portrayal of gay characters and challenge conventional stereotypes. Overall, these five films
are particularly relevant to our research objective since they serve as essential texts for a
well-rounded analysis of the evolution of gay depiction in American cinema from 2000 to
2020 through the lens of queer theory.
The films will be viewed in their original formats through licensed streaming platforms to
ensure authenticity and high-quality viewing. Subtitles will be enabled when available to
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aid in accurate transcription and comprehension of nuanced language. This approach
requires a qualitative content analysis, allowing for a deeper exploration of the material.
Each film will be watched multiple times, during which detailed notes will be taken to
capture key elements such as dialogues, character development and relationship dynamics
during critical scenes. These elements will then be selected for in-depth analysis according
to queer theory, ensuring a comprehensive examination of the narratives.
B6. Ý nghĩa khoa học và thực tiễn
Cinematic characters, particularly gay characters, play a crucial role in representing diverse
experiences and challenging prevailing stereotypes and societal norms. Through their
narratives, these characters illuminate the complexities of gay identities, revealing the
struggles and triumphs faced within a heteronormative society. Authentic portrayals foster
empathy and understanding among audiences, prompting viewers to confront their own
biases and preconceptions. This representation validates gay experiences, providing
visibility in a medium that has often marginalized them. By showcasing a spectrum of
experiences—from love and acceptance to conflict and resilience—these characters enrich
cultural narratives and reflect societal progress, ultimately promoting inclusivity and
advancing conversations about identity and acceptance.
In this context, our research seeks to shed light on the way the US society has gradually
embraced gender diversity, in particular homosexual men. By fostering an open-minded
perspective, this study encourages young people to actively support gay rights in their daily
lives and on social media, contributing to a more inclusive society.
This approach is especially significant in Vietnam, where traditional values and
conservative views on sexuality often prevail. Our research aims to empower Vietnamese
youth, especially students at the University of Social Sciences and Humanities, to to convey
positive messages about gay individuals to their families and communities. Engaging in
dialogue with older generations—who may hold more conservative views—can help
challenge existing beliefs and prejudices regarding the gay community.
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Through this process, young people can cultivate acceptance and understanding, fostering a
more inclusive and open-minded society. As they share insights gained from our research,
they can challenge stereotypes and promote empathy, ultimately creating an environment
where gay individuals are embraced and celebrated rather than marginalized. This shift not
only enriches the cultural fabric of Vietnam but also contributes to a global movement
toward greater acceptance and equality for all individuals, regardless of their sexual
orientation.
Additionally, for students and scholars in media, gender studies, and American or popular
culture, this research provides a valuable framework for analyzing films through the lens of
queer theory. By applying queer theory, researchers can critically examine how media
representations shape and reflect societal attitudes toward gay identities and experiences.
This theoretical approach encourages a nuanced exploration of the complexities of gender
and sexuality, challenging binary understandings and highlighting the fluidity of identity.
Through this lens, students and scholars can investigate not only how gay characters are
portrayed but also the broader implications of these portrayals on public perception and
cultural narratives.
However, this research also faces limitations due to its exclusive reliance on textual analysis
through queer theory. While this approach offers valuable insights into themes and
narratives, it overlooks important factors like audience reception and the interaction
between media and society, which are essential for understanding how portrayals shape
public perceptions of gay identities. The timeframe of 2000 to 2020 may not reflect the
latest trends, and focusing on only five films limits the exploration of diverse
representations of gay characters, potentially leading to conclusions that do not accurately
capture industry shifts or public perception changes. Additionally, materials published after
2010 are excluded due to limited availability, further narrowing the analysis.
B7. Bố cục đề tài
1. Introduction
1.1. Research Problem
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1.2. Research Questions
1.3. Research Objectives
1.4. Significance of the Study
2. Literature Review
2.1. Overview of Existing Research
2.2. Identification of Gaps
2.3. Theoretical Framework
3. Research Methodology
3.1. Research Design
3.2. Sampling
3.3. Data Collection
3.4. Data Analysis
4. Results
4.1. Presentation of Qualitative Findings
5. Discussion
5.1. Interpretation of Qualitative Findings
5.2. Implications of the Study
5.3. Limitations of the Study
6. Conclusions
6.1. Recapitulation of Key Findings
6.2. Answering Research Questions
6.3. Contributions to the Field
6.4. Future Research Directions
B8. Danh mục tài liệu trích dẫn
(theo Quyết định số 03/QĐ-XHNV-TTPC-SHTT ngày 23/01/2024 về việc ban hành quy
định trích dẫn và chống đạo văn của Trường ĐH KHXH&NV, ĐHQG-HCM)
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