“Let’s Not Get Caught”: Adrienne Rich’s “Compulsory Heterosexuality and Lesbian Existence” in Ridley Scott’s Thelma and Louise
Abstract
Ridley Scott’s Thelma and Louise (1991) is a groundbreaking feminist rendition of typically male and heterosexual genres like the neo-western, screwball comedy, and road movie. In conjunction with the feminist execution of the above genres, many critics have identified a lesbian subtext, which has caused polarized debate as some scholars like Lynda Hart claim that “‘Lesbian’ is the aporia in this narrative” (443). Using Lacan’s ideas of the Real and Symbolic, Hart claims that the film is unsuccessful in breaking the boundary of the phallocentric symbolic as truth, arguing that the women’s desire cannot be portrayed as lesbian (445). However, using Adrienne Rich’s “Compulsory Heterosexuality and Lesbian Existence,” I challenge this position. The film effectively represents a lesbian existence that is not inherently sexual, demonstrating Rich’s idea of the lesbian continuum which is “a range-through each woman’s life and throughout history—of woman-identified experience” (Rich 1528). The blocking, composition, and editing in the final scene showcases how the pair both resist patriarchal systems and recognize their complex lesbian experience. The shot of Detective Slocumb’s looming presence reflects patriarchal pressures, and Thelma and Louise’s close-ups are an attack on the male right of access to women. When analyzing the final scene, it becomes clear that the photograph and the final freeze frame of the titular pair disproves Hart’s claim because both elements leave documentation of lesbian existence. While the film does not overtly allude to the women’s desire as lesbian, the representation is nuanced and complex, which more accurately reflects the lesbian continuum. This representation paved the way for more raunchy lesbian road films like Drive-Away Dolls (Coen 2024) and darker neo-westerns like Love Lies Bleeding (Glass 2024). Despite the three decades that have passed since the film’s release, it continues to be a cornerstone and influence on queer cinema.
Start Time
15-4-2026 1:30 PM
End Time
15-4-2026 4:30 PM
Room Number
Culp Ballroom 316
Poster Number
15
Presentation Type
Poster
Presentation Subtype
Posters - Competitive
Presentation Category
Arts and Humanities
Student Type
Graduate and Professional Degree Students, Residents, Fellows
Faculty Mentor
Matthew Holtmeier
“Let’s Not Get Caught”: Adrienne Rich’s “Compulsory Heterosexuality and Lesbian Existence” in Ridley Scott’s Thelma and Louise
Culp Ballroom 316
Ridley Scott’s Thelma and Louise (1991) is a groundbreaking feminist rendition of typically male and heterosexual genres like the neo-western, screwball comedy, and road movie. In conjunction with the feminist execution of the above genres, many critics have identified a lesbian subtext, which has caused polarized debate as some scholars like Lynda Hart claim that “‘Lesbian’ is the aporia in this narrative” (443). Using Lacan’s ideas of the Real and Symbolic, Hart claims that the film is unsuccessful in breaking the boundary of the phallocentric symbolic as truth, arguing that the women’s desire cannot be portrayed as lesbian (445). However, using Adrienne Rich’s “Compulsory Heterosexuality and Lesbian Existence,” I challenge this position. The film effectively represents a lesbian existence that is not inherently sexual, demonstrating Rich’s idea of the lesbian continuum which is “a range-through each woman’s life and throughout history—of woman-identified experience” (Rich 1528). The blocking, composition, and editing in the final scene showcases how the pair both resist patriarchal systems and recognize their complex lesbian experience. The shot of Detective Slocumb’s looming presence reflects patriarchal pressures, and Thelma and Louise’s close-ups are an attack on the male right of access to women. When analyzing the final scene, it becomes clear that the photograph and the final freeze frame of the titular pair disproves Hart’s claim because both elements leave documentation of lesbian existence. While the film does not overtly allude to the women’s desire as lesbian, the representation is nuanced and complex, which more accurately reflects the lesbian continuum. This representation paved the way for more raunchy lesbian road films like Drive-Away Dolls (Coen 2024) and darker neo-westerns like Love Lies Bleeding (Glass 2024). Despite the three decades that have passed since the film’s release, it continues to be a cornerstone and influence on queer cinema.
