Queering the void: how Erlingur Thoroddsen’s Rift transforms horror cinema
Miranda Wilkie
Edited by Abigail Eardley
Art by Raj Dhunna http://rajdhunna.co.uk/
TW: Sexual Violence
Horror cinema is a genre that, with its subversive and confrontational intentions, is arguably ripe for queer filmmaking: yet as a queer horror fan it is rare I find myself represented on screen. In many horror films, academic readings of character’s queerness are often reduced to subtext. While queer characters are admittedly not totally absent from horror cinema, their sexuality often forms the basis of the horror itself. Depictions of canonically queer characters tend to form two extremes: ironically mannered villainy or predatory perversity. A Nightmare On Elm Street 2: Freddy’s Revenge (1985) became a cult film with queer audiences due to its fairly explicit homoeroticism, including a high-camp portrayal of leather-clad ‘daddies’ in a gay bar. More recently, however, queer representation has shifted markedly. While visibility of queer communities within mass media increased at the turn of the century, the subsequent backlash from religious and conservative groups reignited the spectre of the sex-crazed, corrupting queer figure that first originated during the AIDS epidemic (Bronski, 99). Several New French Extremist horror films, such as Haute Tension (2003) and Irreversible (2002) exploited this undercurrent of fear, featuring characters whose same-sex desire is voracious and violent to the point of explicit homophobia.
