One the recent film that easily and best represent Doty’s queer theory is the animation film Hotel Transylvania Directed by Genndy Tartakovsky. The film became queer because a movie along with its characters are supposed to be queer and scary but the movie presented it as non-threatening, mainstream and to some extent, even romantic. The rendition of the film is the reverse of Doty’s assertion that sometimes what is considered as normal rendition of a film can be the most queer of all.
The film literally dislodged the viewers traditonal concept of supernatural entities. For example, Dracula has a daughter who wants to be friends with humans and runs a hotel for monsters. Transylvania in this film is in fact a hotel and not the regular impression of an old scary castle. Werewolves and vampires are also relatives (Daughter Mavic called Wayne and Wanda as aunt and uncle) instead of being mortal enemy. Frankenstein has a wife and above all, it is the humans who are in fact “monstrous” that they should be scared of. And lastly, monsters in fact loves to party. It also talks about sexuality only not in the queerness of homosexuality but rather the emerging sexual drive of a teenage vampire that put normalcy in an otherwise abnormal character of a vampire.
Perhaps the biggest queerness of the film was the reversal of roles between humans and monsters (vampires, werewolves, big foot, mummy). The supposed culturally marginal, in Doty’s words (4) became the dominant culture and the dominant culture became marginalized. In the point of view of the monsters, they are the mainstream entities and humans are considered as sub entity and are the ones that are monstrous that should be feared.
Tartakovsky made an interesting confrontation of his characters who assumed reversal of role where the monsters view the human (young traveler Jonathan who became the fiancee of Mavic) as monstrous and the human not threatened by the actual