These examples are successful on two levels. First, they provide the heterosexual female viewer with the ultimate romantic
fantasy of the perfect man. Not only is he handsome and desirable, he's loving, emotional, caring, and sensitive, traits that
are hard to find among heterosexual men. The only drawback in these otherwise perfect male/female relationships is the
absence of sexual attraction on his part. But it is this "lack" that produces the popularity of these shows. The audience,
firmly situated in the heterosexual imaginary, is unable to suspend their belief that men are "naturally" attracted to women.
Secretly, they hope he will "come to his senses" and consummate a heterosexual union. Interestingly, the use of the gay male
as guy/girlfriend resecures the patriarchal order by erasing the heterosexual woman's need for a female friend while creating
a space for the possibility of a masculine man as a love interest. In the end, the institution of heterosexuality is
preserved as dominant and superior because, by contrast, it appears stable and less confusing. They're Writing Songs of Love,
but Not for Me…nechkholder brautkleider
Similar to the two films discussed thus far, Four Weddings and a Funeral makes use of the intersection of the ideology of
romantic love and the ideology of heterogender. This British romantic comedy, which experienced enormous box office success
in the U.S., tells the story of Charles (Hugh Grant), a twenty-something white man, and his cohort of friends caught in the
flurry of weddings the film portrays as prevalent among people in their twenties.
The movie follows the love story of Charles and Carrie (Andie McDowell), the American woman he falls in love with at the
first wedding in the film, in a classic case of poor timing. They meet at the first wedding, are attracted to each other, and
spend the night together. tragerloser ausschnittThe following morning, when he discovers she must leave for the U.S. immediately, they both express
their disappointment at a lost opportunity. He encounters her again at the second wedding, only this time she introduces
Charles to her wealthy fiancé. Charles is devastated and confesses to his friends that he is in love for the first time in
his life. He receives an invitation to Carrie's wedding and, in a serendipitous meeting when Charles checks in on Carrie's
bridal registry, confesses to her that he loves her. The third wedding is Carrie's. While momentous to Charles given his
romantic interest in Carrie, it is at this wedding that Gareth, one of Charles's friends, dies of a heart attack. Charles
encounters Carrie at the funeral and doesn't see her again until his own wedding day. Rather than risk life without marriage,
and with his true love married to someone else, Charles decides to settle and marry someone he believes he loves enough.
Carrie appears at the wedding, reveals she is divorced, and the fourth wedding becomes the movie's crisis point. Charles
publicly declares his love for Carrie and destroys the wedding. The film concludes with Carrie and Charles reunited and
committed to each other but not to marriage.
herz ausschnitt brautkleider
One of the central themes of this film is what counts as true love. Charles, his friends Thomas, Fiona, Gareth, Matthew, and
Charlotte, and his deaf brother David travel from wedding to wedding ruminating about whether they will ever find someone to
marry. As we witness Charles experience "love at first sight" with Carrie, as well as subsequent interactions among the other
main characters in their quest to find a spouse, we learn that true love and romance are first and foremost about appearances
and chemistry. At each wedding, there is reference to someone as "quite attractive," "a dish," or "lovely" when sizing up
potential love partners. Interestingly, nowhere in this film is there any reference to what these characters do for a living,
if anything, or to what else they care about in life. According to this film, one need only find someone-of the opposite sex
-attractive in order to find them suitable for marriage.
The moment I wake up
Before I put on my makeup
I say a little prayer for you.
…Forever and ever, I'll stay in your heart
oh how I love you,
together forever, we never will part.
Everyone is tickled to hear him be so romantic, and they soon join George in singing the entire song, celebrating their
romance and engagement. Julianne is less than pleased that George may have foiled her plan by being too demonstrative-that
is, too gay-and eventually tells Michael that she's not engaged.
The film ends with Michael's and Kimmy's big white wedding complete with white Rolls Royce and firework sprays lining the
driveway as Julianne must face the loss of her potential love partner. Once again, George, who apparently has no life of his
own, comes to the rescue, appearing at the wedding reception complete with tuxedo and prepared to dance the night away with
The use of the gay character as cipher in the service of heterosexuality is a theme prevalent in many films and television
shows. As battles over the legitimacy of homosexuality and human rights for gays, lesbians, and bisexuals are fought out in a
wide variety of political arenas today, the contradictory use of gay characters speaks to a state of ambivalence about the
institution of heterosexuality and the legitimacy of homosexuality. This recent trend in popular film and television weddings
is to make use of gays and lesbians to both provide a broader audience appeal-marketing to gays and lesbians-and to target a
potential wedding market should legal weddings for same-sex couples ever be allowed. The abuse of gay characters serves the
interests of heterosexual supremacy and also provides some comfort for those who claim opposition to homosexuality, e.g., the
Disney boycott by the religious right mentioned earlier. The question that arises from these patterns is: What are the social
consequences of these portrayals of gay men and lesbians?
This theme of the gay male with the heterosexual woman has become enormously popular with the success of this movie, a
subsequent film, Object of My Affection, and the new NBC television show Will & Grace, where the lead characters are a
heterosexual woman and a gay man who are also best friends and roommates.