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You think so? As Benshoff writes in Monsters in the Closet , the postwar era was a terrible time to live outside the prefab definition of what it meant to be a true American: And then there were the atomic fears that gave way to strange invaders and oddities of science, like Teenage Caveman , Teenage Monster , Teenage Zombie , and Them!

A burgeoning Cold War — combined with atomic fears and adherence to cookie-cutter conventions — made for a lot of very thinly veiled queer horror. The Creature From the Black Lagoon Black Lagoon is ostensibly about a group of scientists on an expedition to South America investigating a possible new species, and finding the shocking Gill-man.

And while the men and the beast all compete for the attention of a woman, her presence creates a persistently awkward foil for the men swimming about together in their skivvies. Girl, read the room and stay home next time! Les Diaboliques Two women working at a boarding school in France conspire to kill their beastly headmaster, who happens to be the husband of one of those ladies. Christina is mild and frail, but Nicole is curt and self-assured, alternately soothing and strong-arming her companion to get on with killing her terrible husband.

I Was a Teenage Frankenstein During the teen monster movie swell of the s, there was Teenage Frankenstein , which followed a pair of male mad scientists who endeavor to create a young, muscular stud. Say no more, doctor. Bride of Frankenstein , Teenage Frankenstein , Creature From the Black Lagoon on a male specimen they can manipulate for their own ends. Alfred Brandon Whit Bissell in hopes of finding a cure for his violent, beastly urges.

I Married a Monster From Outer Space When a group of aliens invades a small town, they start taking over the bodies of all the local men, making them despondent and unemotional. The men also regularly step out for long walks in the woods, where they can meet up with each other. Is it an alien race trying to hijack the wombs of Earth women to repopulate their species, or some night-cruising among sexually frustrated men? Why not both? The s were a time of cultural upheaval. Feminist and civil-rights activism were both on the rise.

Antiwar protests would break out in response to the conflict in Vietnam. The Hays Code was about to be scrapped in favor of the rating system. The sexual revolution was on the horizon, and the gay-rights movement exploded into mainstream view following the Stonewall Riots at the end of the decade. Similarly, on the queer horror front, lesbian vampires were about to turn from shame-filled figures like the Countess Marya Zaleska into sexually forward predators, and a real, actual lesbian character — not a ghost or a suggestion of one — would appear as a protagonist in The Haunting.

In other words, whatever was left of the Legion of Decency was about to be sent to its cold, boring grave. An effeminate, cross-dressing serial killer who murders women staying at his hotel — and gets into arguments with the skeleton of his dead mother — Norman Bates may have been in the closet, but the walls were definitely made of glass.

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Blood and Roses This version of the ever-adaptable Carmilla was a catalyst for the lesbian-vampire wave to come. It starred Annette Vadim as an early screen version of the infamous undead character. Carmilla is distraught at the engagement of her cousin, Leopoldo — but his betrothed, Georgia, develops an affection for Carmilla that veers into implicit sexual attraction. Two women are invited to a haunted mansion by a male scientist who is investigating paranormal activities. Orgy of the Dead Orgy of the Dead is, essentially, a long dream sequence filled with dancing naked women. This could have made for a bold examination of gender in horror, but instead it stays flat as a straightforward vengeance story.

Christina wants payback on the men who killed Hans and drove her to suicide, and when the angry soul of Hans actually takes over the controls, he plots to seduce the men who killed him, using his newly enhanced bombshell body to sexually entice the men to their deaths.


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As film scholar B. Ruby Rich writes in her book New Queer Cinema: Arguably there was no such thing, just a scattering of gay and lesbian directors, often closeted, making films that were masquerading as mass-market heterosexual fare, albeit with the occasional gay or lesbian actor or subtle wink. Sexual liberation was upon us in America, and so it followed that the monsters of horror became hypersexualized, too. And with the surge in queer visibility following the Stonewall Riots, LGBTQ characters were more explicitly present than ever onscreen: Subtext became text.

Of course, queer characters were every bit as monstrous as they had ever been — but at least they were stepping out of the shadows. The celluloid closet was finally opening up, but there was still a long way to go when it came to representation. Jekyll and Sister Hyde This gender-swapping story did a little more than its predecessor, Frankenstein Created Woman , to unpack the queer issues at hand when a male and female figure share the same body.

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In the pursuit of eternal life, Dr. Jekyll Ralph Bates starts experimenting on himself by intravenously taking female hormones. As a result, Jekyll transforms into a woman, Sister Hyde. The Vampire Lovers With censorship rules relaxing in a post-code Hollywood, the folks at Hammer Films decided to capitalize with this adaptation of Carmilla , which focuses on a young female vampire named Mircalla Karnstein. Mircalla goes by the name Carmilla as she seduces young women and kills folks in an 18th-century Eastern European town.

To continue following the exploits of the Karnstein family, see Lust for a Vampire and Twins of Evil , which completes the trilogy, but is less overtly queer. The Daughters of Darkness Lesbian vampires were a truly global affair in the s; this Belgian erotic horror film is considered a more artistic example of the subgenre. This time, though, the Carmilla in this version haunts the dreams of a newly married woman named Susan, whom she seduces by infiltrating her dreams before the two eventually enter into a scandalous affair.

Their passion awakens a bloodlust in Susan, who agrees to try and kill her husband, just as Carmilla killed hers centuries ago. For one more take on this story, see the Spanish and German co-production Vampyros Lesbos. If conservatives hoped there was a way to shove the gay genie back in the bottle after it got loose in the s, this musical horror send-up — featuring a Teenage Frankenstein —style boy toy made by a blatantly queer mad scientist who could seduce even the most vanilla heterosexual men or women — crushed all of those square hopes and dreams. Tim Curry delivers a virtuoso performance of camp as Dr.

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