The subversion of (hetero)normativity in American cinema: an analysis from Freaks and The Rocky Horror Picture Show

Abstract

This paper analyses two midnight movies that gave prominence to marginalized people and considered abnormal by society, Freaks, with real freak shows actors, and The Rocky Horror Picture Show, with a transgender character. The paper shows how these movies subvert stereotypes, gender and normativity standards and how over the years they came out of a situation of marginality and audience created identification with their characters. Freaks, from 1932, tends to humanize the characters that were seen as monsters, while the characters who are suitable for eugenic standards are represented as villains. On The Rock Horror Picture Show, from 1975, a typical straight couple has their lives transformed when they are invited to spend a night in the castle of Frank-NFurter, a transgender alien that has sexual intercourse with both and transform them into drag queens. These movies attack the normativity standards and make the audience identify itself with the “other”. The “abnormality” of these characters is treated as something normal or even more interesting before the “normal” world. Both movies are redeemed in the counterculture context, inserted on midnight movies circuit, and even nowadays, they can be considered symbols of minority movements.