Sexuality and Sexual Orientation
In the modern field of cinema, films have become powerful means for examining and challenging societal perceptions of sexuality and sexual orientation. Clea DuVall’s ‘Happiest Season’ presents these concerns with a probing touch that complements the approaches the writers Garnets, Ahmed, and Dean highlighted (Dean pg. 363-386). Through its explicit portrayal of a same-sex connection and the characters’ pursuit of comfort within their identities, the film invites viewers to confront prevailing societal norms and embrace the diversity of human experiences.
Garnets’ article
Garnets’ article, “Sexual Minorities,” sheds light on the complexities surrounding sexual orientation and the “coming out” process. “Happiest Season” highlights this idea very well by using the love story between Abby and Harper as an example (Dean pg. 363-386). Their job gives a living example that they are born aligned with one way of life and not they can choose to be gay. Garnets characterizes the role of building the acceptance and appreciation which Abby tries to achieve from Harper’s family. However, the film also poignantly describes the societal forces and anticipations that can lead individuals to conceal their true selves, as exemplified by Harper’s initial reluctance to come out to her family.
Ahmed’s notion of “comfort
Ahmed’s notion of “comfort” is a significant theme in “Happiest Season,” as the characters navigate the complexities of finding solace within their identities and relationships. Abby’s situation is the opposite of Harper’s family, with her relationship not entirely accepted compared to her loving and comforting family. The idea of Ahmed about comfort being a social critique is expressed through the essence of the film when society doesn’t understand the character’s quest to be authentic and accept themselves the way they are. The movie catalyzes the audience’s thinking. It makes them weigh up the lines of their comfort zones and break the rules of normality.
Through the queer cinema lens of Dean’s “Happiest Season”, stereotypical representations of sexuality and gender norms are undercut (Dean pg. 363-386). It aims to show the life of the same-sex couple. It celebrates everyone’s experiences regardless of being heterosexual. This also dispels any misleading assumption that may act centred on heterosexual roles only. Dean’s theoretical perspective is the heart of his film analysis because it provides a flexible approach to viewing the film’s portrayal of a lesbian relationship as the central narrative, going against the popular narrative about love and relationships (Dean pg. 363-386).
Conclusion
In conclusion, “Happiest Season” is a movie that culminates sexuality, sexual orientation, and inner comfort exploration. Through reflecting upon and relating to Garnet’s, Ahmed’s, and Dean’s frameworks, the film attempts to delve into the existing social norms, accept your acceptance, and celebrate the different human experiences and perspectives. Using its storyline depth and the actors’ masterful performances, the movie “Happiest Season” becomes a great example of the ongoing journey towards understanding, acceptance, and making spaces without fear and judgment where people can find themselves. This film reminds us of the broad journey that incorporates all of us and our ways toward acceptance, understanding, and the ability to provide folks with a place to be themselves without fear of judgment.
Work Cited
Dean, James Joseph. “Gays and Queers: From the Centering to the Decentering of Homosexuality in American Films.” Sexualities, vol. 10, no. 3, July 2007, pp. 363–386, https://doi.org/10.1177/1363460707078337. Accessed 26 Apr. 2020.
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