Deep Blue Sea 2 BluRay MicroHD | Marisa Tomei | Nanatsu no Taizai 201.8

Queer Horror Film and Television by Elliott-Smith Darren;

Queer Horror Film and Television by Elliott-Smith Darren;

Author:Elliott-Smith, Darren;
Language: eng
Format: epub
Publisher: I.B.Tauris


Figure 4.1Jake and Corin from October Moon (2005).

The film also discusses anxieties surrounding ageism within gay male sub-groups. The main protagonists’ relationship is dogged by their own and gay male culture’s celebration of youth. Emasculation anxieties revolve around age and inexperience for Jake, who becomes depressed at being the dependent partner, uncomfortable with being tied down, and finding monogamy oppressive. The older Corin is a clear ‘daddy’ figure, a more mature gay man (although, tellingly, he is still fairly young), the sole bread-winner, and who is relatively successful at his job and independent of his family (see fig. 4.1). Most importantly, Jake is anxious about being unemployed and the passive connotations of being unable to bring home a salary. On top of all this, Corin and Jake are a long term couple and are continually represented like heterosexual, married partners, inviting them into the gender positions of husband and wife respectively. Jake’s journey from ‘kept boy’ to ‘Final Boy’ is indicative of his struggle to be recognised as a masculine gay man.

Collum consciously places such social commentary within October Moon’s narrative, suggesting that:

Whereas in straight culture there is clearly a stereotypical ‘man/woman’ role in the household, when you place two men together in a homosexual relationship, there remains that sense that one of them ‘has’ to be the stronger ‘dominant’ and the other has to be the ‘subservient’ weaker partner.

As a result of American culture’s inbred psychological need to define who is the more powerful in a relationship, it seems to me gay men still feel the need to define who’s who in their relationships.8



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