SANCTIFYING QUEERDOM:

RELIGIOUS IDENTITY IN NEW QUEER CINEMA

A Thesis

Presented to

The Faculty of the Department of Television, Radio, Film, and Theatre

San Jose State University

In Partial Fulfillment

Of the Requirement for the Degree

Master of Arts

Marco Torres

ABSTRACT

SANCTIFYING QUEERDOM:
RELIGIOUS IDENTITY IN NEW QUEER CINEMA

by Marco Torres

This thesis offers a critical reading of the intersection of religious and queer identities in films from the second wave of the New Queer Cinema movement (2000-2007). The films studied are Sordid Lives (2000), Hedwig and the Angry Inch (2001), Latter Days (2003), and Bad Education (2004). Using a theological criticism model as presented by religious film scholar Joel W. Martin, the thesis analyzes and discusses the use of plot, character, and mise-en-scène in these films to construct identities that are simultaneously queer and religious, and examines how the directors of the films address the conflict between the two identities and what, if any, resolution to the conflict is provided by the films.

TABLE OF CONTENTS

Chapter 1: Introduction

I. The Origins of New Queer Cinema and Queer Film Studies

II. Religion in Queer Film Studies

III. Methodology

IV. Films for Study

Chapter 2: “Just As I Am”: Reconciliation and Acceptance in Sordid Lives

I. Del Shores and Southern Baptist Influence

II. Character Identities: Ty Williamson

III. Character Identities: Brother Boy / Earl Ingram

Chapter 3: “More Than Any God Could Ever Plan”: The Transsexual Messiah of Hedwig And The Angry Inch

I. John Cameron Mitchell and Gnostic Influence

II. Character Identities: Hedwig Robinson

III. Character Identities: Tommy Gnosis

Chapter 4: “What If You’re the Blinding Light?”: The Conversion Narrative of Latter Days

I. C. Jay Cox and Mormon Influence

II. Character Identities: Aaron Davis

Chapter 5: “It is Not God Who Condemns You”: Decorative Catholicism and the Identity Game of Bad Education

I. Pedro Almodovar

II. Catholic Presence in Bad Education

III. Character Identities: Manolo and Ignacio

a. Childhood Narrative

b. La Visita Narrative

c. Berengeur’s Narrative

Chapter 6: Conclusion

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