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The Celluloid Closet: Homosexuality in the Movies
 
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The Celluloid Closet: Homosexuality in the Movies (Paperback)

by Vito Russo (Author)
4.0 out of 5 stars  See all reviews (2 customer reviews)
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Frequently Bought Together

The Celluloid Closet: Homosexuality in the Movies + Out at the Movies: A History of Gay Cinema + Now You See it
Price For All Three: £34.56

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  • This item: The Celluloid Closet: Homosexuality in the Movies by Vito Russo

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Product details

  • Paperback: 368 pages
  • Publisher: HarperPaperbacks; 2nd Revised edition edition (30 Sep 1987)
  • Language English
  • ISBN-10: 0060961325
  • ISBN-13: 978-0060961329
  • Product Dimensions: 22.9 x 15.2 x 3 cm
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon.co.uk Sales Rank: 99,994 in Books (See Bestsellers in Books)

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Product Description

Synopsis

Examines the portrayal of homosexual characters in the movies and how it reflects society's beliefs and misconceptions.

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13 of 14 people found the following review helpful:
4.0 out of 5 stars 'The Celluloid Closet' is a groundbreaking book, remaining.., 23 Jul 2001
I have only one thing to say - Wow! Well, perhaps more than that...'The Celluloid Closet' is a groundbreaking book, remaining one of the most informative and accessible books written about the use of gays and lesbians in film. Its primary focus is on the use of stereotypes by Hollywood and as such provides an excellent starting point for anyone interested in film and gender studies. An immense range of films is covered, from silent movies to the classic Doris Day sex comedies of the fifties through to the 'gay-orientated' films of the seventies as Russo explores the attitudes and myths that Hollywood and film have perpetrated about gays and lesbians. Thankfully, Russo has not focused on the concept of a 'Gay' film, instead concentrating on his exploration of gay characters and the manner in which they have been portrayed. Originally published in 1981, Russo died shortly afterwards, its only drawback is that there is little recognition of the steps made by independent film makers and the recent 'onslaught' of gay characters positively represented in the 90's.
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6 of 6 people found the following review helpful:
4.0 out of 5 stars Remarkable Text from a Man in Love with Movies, 14 Feb 2004
By Gary F. Taylor "GFT" (Biloxi, MS USA) - See all my reviews
(TOP 500 REVIEWER)    (REAL NAME)   
This review is from: The celluloid closet: Homosexuality in the movies
Although Vito Russo (1946-1985) was well known as a gay activist and was extremely influential in the creation of such AIDS-activist organizations as ACT UP, today his reputation rests almost exclusively on THE CELLULOID CLOSET, a powerful commentary on the way Hollywood portrayed homosexuality on film from the silent era to the early 1980s. The book received considerable attention when first published in 1981, and it continues to receive considerable attention to this day--and justly so, for Russo's examination of the various gay characters created by Hollywood explores not only how such images were created by Hollywood, but how they shaped "straight" America's ideas about homosexuals and often altered the gay community's own self image as well.

The position Russo takes and the interpretations he offers are nothing short of fascinating, and THE CELLULOID CLOSET holds up extremely well to re-reading. Even so, it is essentially an excellent work by an amateur writer. For all the power of its interpretations and arguments, the text is badly structured, and too often the tone of the prose seems less about the films under consideration than about the personality that considers them. And there are frequent factual errors in the text, with Russo's comments on the cult favorite The Rocky Horror Show perhaps the most glaring case in point.

Although Russo's omnipresent personality tends to undercut his prose at times, it is an engaging personality, and in a certain sense it drives the narrative--and indeed does a great deal to make the book's shifting structure seem more acceptable than it would have otherwise been. And after a careful re-reading of the text, I have come to the conclusion that the errors involved are best described as "surface" errors; they do not seem to me to undercut the power of Russo's interpretations, arguments, or positions, all of which are extremely well presented and very astute. Even so, given the book's somewhat problematic nature, I would take issue with those who describe it as "definitive," which is a rather sweeping word. I would prefer to describe it as a fascinating analysis of a difficult subject written by a gifted amateur author--who manages to overcome his limitations to present an endlessly fascinating series of interpretations, arguments, and positions. The book deserves a place on the bookshelf of every one who loves film as much as the writer did, and I recommend it strongly. But it would be a mistake to take it as an absolute.

GFT, Amazon Reviewer

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