In the article “Entertainment and Utopia” the author Richard Dyer places musicals in a certain realm of entertainment. He also describes musicals as a function of "escapism" and "wish fulfillment", which is the main characteristic of a utopia. Dyer states “Entertainment does not, however, present models of a utopian world… Rather utopianism is contained in the feelings it embodies” (p 273) In the film Singin' in the Rain and Moulin Rouge are films based on two great musicals by two different eras. This particular genre is based on feelings as the root of the film through singing and dancing. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay The utopian sensibility is composed of five elements: energy (work and play are synonymous), abundance (elimination of poverty for oneself and for others; equal distribution of wealth), intensity (excitement, drama, affectivity), transparency (open, spontaneous, honest communications and relationships) and community (all together in one place, common interest, collective activity). Audiences can experience these five elements while watching a musical. In Singin' in the Rain the element of intensity is used throughout the film, but is most recognizable in the song “Singin' in the Rain” when Lockwood honestly expresses his love for Kathy openly and courageously. In the film, the energy and abundance of the Moulin Rouge are prominent in the opening scene where the character Satin dances and the wealthy Parisian nightclub community. Also the intense emotion in the rooftop duet between Satine and Christian. Moulin Rouge has a simple plot about love, as is stated repeatedly in the film: "This story is about truth, beauty and above all love." This film ends with a non-utopian ending because Satine dies. Moulin Rouge exists in its own utopia while Singin' in the Rain follows more of the generic feel of Utopia. Singin' in the Rain is a fun film, an opera, and also a work of art. Dyer's piece shows the idealism of musicals and how this paints an emotional picture. The nature of a musical is one that tugs at the viewer's emotional chords. The documentary Celluloid Closet does a good job of illustrating the underrepresentation of homosexuality in Hollywood. Early Hollywood films taught straight people what to think of homosexuals and how homosexuals should see themselves. Gay men in early cinema served as a fun addition to films, but there was also a double standard because women portrayed as men were not as funny as men portrayed as women. Homosexuality was not something to laugh about, gays lived in a dangerous time. Early in the Prohibition era, gay bars secretly popped up in mob-run speakeasies, which would provide the bars with police protection. Life was not easy for homosexuals. They were seen as unnatural perversions, creatures to be mocked and ridiculed. The two films I will talk about are Rebel Without a Cause and Dallas Buyers Club. The gay subtexts were there from the beginning because the writers went under the studio's nose and wrote hints at a character or inserted a theme that would only be understood if the public was in the know and could read between the lines (The Celluloid Closet). In Rebel Without a Cause the character "Plato" was played by a gay actor named Sal Mineo and his character was gay in the film. This character was killed by the end of the film. In Celluloid Closet it was stated that the characters were presumed dead by the end of the film. Homosexuality was considered an illness for some viewers and the Production Code enforced.