ABSTRACT
I he movies and gayness have had oddly parallel lives these past hundred years. Both of them have grown, mutated, regressed sometimes, ever taken unexpected turns. By the end of that shared century of existence, both were generally accepted yet fiercely argued over, mainstreamed while being frequently decried, discussed and argued over, praised and banned, legislated and regimented. Both remained without a standard clear-cut form. Neither, any longer, was merely a shadow on the wall.
