The politics of love in three recent U.S. and U.K. films of young gay romance: a symptomatic reading of Beautiful Thing, Get Real, and Edge of Seventeen

A symptomatic representation, from a Marxist critical vantage point, of three prototypical recent U.S. and U.K. films of young gay romance-Beautiful Thing, Get Real, and Edge of Seventeen-shows these films (as well as the larger, insurgent cinematic subgenre of which they serve as particularly exemplary instances) do significant ideological work, contrary to what might appear to be the case from a superficial (and uncritical) reading that dismisses them as pure escapism. These films confront contradictions central to contemporary U.S. and U.K. gay politics and culture-contradictions involving the unity and struggle of tendencies toward gay assimilation versus gay separation, gay normalization versus gay differentiation, and gay integration versus gay dissidence. While these films do not provide formal resolutions to these real social contradictions as much as they engage in processes of formal dissolution and irresolution (i.e., suspension) of these contradictions, they cannot fully elide the existence of these contradictions because to do so would effectively undermine the empathetic appeal of the romantic tales they tell. We can observe this ideological tension most clearly by examining (1) the fraught ways in which the films represent their protagonists' struggle to substitute individual acquisition of a seemingly secure private place for engagement in social struggle to extend collective control over public space, as well as (2) the abstractly utopian manner in which these films celebrate the power of love.