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The goofiness of Luca and Alberto learning to ride bicycles and eat pasta, while trying to avoid water, is the film’s central concern any deeper probing of what the film is actually about will have to be done by each individual audience member. It’s mostly the story of a kids’ triathlon competition held in the quaint village of Portorosso, where Luca and Alberto meet a local girl, Giulia, who is also a black-sheep outlier in her staid, conservative town. The film is lovely and funny, but it operates on a more minor key than some of Pixar’s true classics. Finally, Disney might actually venture into queer storytelling, a vast landscape of human experience that the studio has only meekly (and smugly) gestured toward in recent years. That outline holds an obvious potential for queer allegory, and indeed many Pixar fans tracking the film’s development quickly labeled Luca as the studio’s “gay movie”-a coming-out story to be placed on Pixar’s mantle alongside its meditations on grief, artistic expression, loneliness, Ayn Rand-ian objectivism, and parenting. Luca and Alberto share an intense, defining, and world-cracking-open bond, but must hide who they really are in the presence of judgmental, fearful others.
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If they make their way onto land, they magically transform-in appearance, at least-into humans, free to interact with the landlubbers of a small fishing town populated with whimsical characters.
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The film is about two kids, Luca ( Jacob Tremblay) and Alberto ( Jack Dylan Grazer), who spend most of their time as gilled and finned creatures living under the sparklingly wine-dark Ligurian Sea. That may sound roughly like the plot of Luca Guadagnino’s 2017 film Call Me By Your Name, but it is also the story of the perhaps coincidentally named Luca, the latest bittersweet animated film from Disney and Pixar (on Disney+ June 18). The French artist couple Pierre et Gilles took this to another level with their immaculately engineered vignettes drawing on history, celebrity, and even religion that manage to capture the heart of queer culture and gay romance.In a dazzling Italy some decades ago, two young men meet and experience a sweeping, happy-sad summer of self-realization together. Artists such as Bob Mizer constructed imagined scenes riffing off popular stereotypes and characters. The creativity in these illustrations can also be found in gay photography. These drawings and pictures inspired and provided solace to those who could not always live out their own yearnings in the flesh, especially in times when gay rights were few and the ghosts of Stonewall and the AIDS crisis still haunted the collective memory.
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Artists like Touko Laaksonen (Tom of Finland), with his Kake comics of cops and military men engaged in lubricious horseplay, or George Quaintance, known for images of randy cowboys and ranch hands, produced hyper-real erotic art where gay sexual desire and pleasure are the status quo. The queer revolution also requires imagination and TASCHEN publications showcase gay artists who have dedicated themselves to creating masculine fantasy worlds. The compilation of images and interviews from gay magazine BUTT represents a more contemporary and gritty cross section of gay life.
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In The Male Nude and The Big Penis Book TASCHEN charts various histories of the erotic male body with contributions from artists like Robert Mapplethorpe, Wilhelm von Gloeden, and David Hockney. Shifting notions of masculinity over time have resulted in different attitudes and aspirations. From monographs on Tom of Finland to anthologies of significant homosexual artists, TASCHEN offers a wide selection of gay books to satisfy a diversity of tastes.Īs early as the classical male nude or the Physique Pictorial magazines of the 1950s, gay men have always sought out representations of the male body. TASCHEN books recognizes the importance of the visual in gay male culture and the positive role depicting queer desire has in the ongoing gender and sexual revolution. In the struggle for LGBT rights the need to be seen has always been paramount.