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The Dialectic of Desire in the Movies of Nicholas Ray Nicholas Ray's films often address a competition between a 'father' and 'boy' (whether literal or figurative filial romantic relationship). Moreover, Ray comes with an ideological method of these struggles. In his movies, homosocial struggles are constantly supplanted by Ray's preferred result of an idealized heterosexual coupling. That's, the risk of prolonged homosocial desire between his heroes is normally eradicated by the loss of life of 1 of the dueling males. The deus ex machina character of the deaths means that the resulting heterosexual coupling is definitely somehow just how things "should be". In Bitter Triumph and The Lusty Guys, the women are obviously the people over whom the males fight within their struggle to set up a 'home' or protection (with that girl). In Rebel With out a Cause, nevertheless, the male-male-female like triangle is challenging by the on-screen existence of a nuclear family members that successfully literalizes Freud's Oedipal conflict. Before examining homosocial desire in particular films, I have to first outline the Freudian concepts that provided birth to the word "homosocial". Relating to Eve Kosofsky Sedgwick, Freud's Oedipal triangle is set up at an early on stage of life whenever a child tries to situate itself regarding a robust father and a much loved, subservient mother (Sedgwick 22). As such, "homo- and heterosexual outcomes in adults [are] the consequence of an elaborate play of desire to have and identification with the mother or father of each gender: the kid routes its desire/identification through the mom to reach at a role just like the father's, or vice versa" (Sedgwick 22). Richard Klein summarizes this argument the following: In the standard development of the tiny boy's p...