Desire and the transgender gaze: a visual analysis of characters in Orlando (1993), Todo sobre mi madre (1999) and Boys Don’t Cry (1999)

Abstract

This project delves into the portrayal of transgender characters in cinema, exploring the visual and narrative elements that convey the biological, social, and psychological conflicts they face on screen. It also raises the intriguing question of whether a distinct ‘transgender gaze’ can exist within the realm of filmmaking.

Throughout the 1990s, several acclaimed films challenged traditional notions of gender and introduced a fresh perspective on identity. These movies served as a midpoint for discussing gender and sexual identity issues. The project examines three specific films and their directorial styles and gazes to shed light on transgender representation in cinema. Firstly, it looks at Sally Potter’s adaptation of Virginia Woolf’s “Orlando” (1992), set in England spanning four centuries. Potter uses fairytale aesthetics and classic dialogue to dramatize gender norms and desires among the aristocracy. While Orlando’s character is relatable and offers an immortal journey across genders, the film imposes a feminist gaze, sidelining discussions on sexuality and gender.

Pedro Almodóvar’s “All About My Mother” (1999) is the second film under scrutiny. Almodóvar explores parenthood through transgender characters, offering a surreal blend of comedy and tragedy. The audience views the story through theperspectiveofManuela’shomosexualson,whosearches for his past through his mother’s life.

Lastly, Kimberly Peirce’s “Boys Don’t Cry” (1999) tells the tragic tale of Brandon Teena, a transgender man murdered after his identity is revealed in a hostile Nebraska town. Peirce visually represents the complexity of gender in transgenderism, illustrating how Brandon and Teena coexist within the same body, despite societal abuse.

These three films share commonalities and shortcomings in their depiction of transgender characters, hinting at the possibility of a ‘transgender gaze,’ albeit with limitations. The challenge lies in the perpetual recognition of the original sex despite remarkable performances. This project suggests that the ‘transgender gaze’ revolves around the desire to authentically be one’s self, regardless of external appearances, establishing its unique identity distinct from both male and female gazes.