Introduction

This dissertation is an analyzation of the ways in which neoliberalism has reshaped queer identity, as reflected in two American films from different periods – 1989’s Last Exit to Brooklyn and Love, Simon from 2018.

In examining the differences in depiction and positioning of gay male characters – both in relation to the main narrative as well as how marginalized or integrated they are represented as being in relation to mainstream society – I sought to rationalize this process as a historic and ongoing one: gay white identity gradually being diluted, defanged and conflated with its heterocentric counterpart.

Neoliberalism is a theory that, though it began as one purely concerned with economics, is increasingly being used to describe existential reality: the idea of maximizing monetary profit being something that is replicated at a societal, legal and even psychological level.

Patience Simon Toby Mcneil: Posted on Facebook and IG on Feb 7, 2022

Highlights

• Neoliberalism is a theory that, though it began as one purely concerned with economics, is increasingly being used to describe existential reality: the idea of maximizing monetary profit being something that is replicated at a societal, legal and even psychological level.
• This process of neoliberalism’s increasing ubiquity is a historic one, and thus its progress is something that it should be possible to gauge through the comparison of a film text fairly early in this process, in this case, Last Exit to Brooklyn, to one from its latter period: Love, Simon.

Highlights

• In each of the films, a character undergoes the process of “coming out,” of revealing previously concealed queer desire. The texts, however, portray this process very differently and show it to have quite different consequences.
• Harry Black in Last Exit to Brooklyn, loses his powerful position as union boss and is assaulted to the point that the audience last sees him as a physically beaten and broken version of his previously tough and assured self. In Love, Simon, however, Simon Spier also “comes out,’ but, after some initial setbacks, eventually experiences acceptance, understanding and love.

Highlights

• Perhaps the discrepancy in the respective fate of each character represents increased inclusion and acceptance of queer individuals in American society. This thesis contends, though, that such acceptance is only achieved through the divestment of a particular category’s resistance to overarching neoliberal “narratives,” such as patriarchy, heteronormativity and toxic masculinity.
• Gay white male heteronormative identity reveals itself as being the most obvious candidate for this kind of rehabilitation because of its proximity to the dominate figure of the straight white male. This point is reinforced by the fates of more fem queer characters and/or queer characters of colour who languish on the margins of both the worlds depicted in each movie and of the narratives.

Experience at MALCS

I had always wanted to do a Masters and had, in fact, embarked on three, before a combination of lethargy, lack of support and lack of structure inevitably led to me abandoning them. It took MALCS, with its combination of classes held after working hours, kind lecturers and varied units, for me to find the kind of programme that I could see through to the BITTER END (kidding!). It has felt like a personal triumph to have completed it. This qualification helps me professionally, but more importantly, it has made me feel better about myself.