Introduction
This essay explores the theme of identity in the 2014 British film *Pride*, directed by Matthew Warchus. Set against the backdrop of the 1984-85 UK miners’ strike, the film narrates the unexpected alliance between a group of lesbian and gay activists from London and a Welsh mining community. Identity, as a multifaceted concept encompassing personal, social, and political dimensions, serves as a central pillar of the narrative, driving character development and thematic resonance. Through close analysis of key scenes, character interactions, and cinematic techniques, this essay examines how *Pride* portrays identity as both a source of division and a catalyst for solidarity. Specifically, it will explore individual sexual identities, collective class identities, and the intersectionality of these markers in shaping personal and communal struggles. By engaging with scholarly perspectives on representation and social movements, the essay aims to illuminate how *Pride* navigates the complexities of identity in a historically charged context.
Individual Sexual Identity and Personal Growth
One of the primary ways *Pride* engages with identity is through the lens of individual sexual orientation, particularly within the lesbian and gay community of 1980s Britain. The film opens with the character of Joe, a young man grappling with his closeted homosexuality in a society marked by pervasive homophobia, exacerbated by the AIDS crisis and Thatcherite policies. His internal conflict is poignantly captured in early scenes where he hides his activism from his conservative family, symbolised by his secretive packing of campaign materials. As Joe becomes involved with the activist group Lesbians and Gays Support the Miners (LGSM), his journey towards self-acceptance unfolds. A critical moment occurs during the group’s visit to the Welsh village of Onllwyn, where Joe’s tentative steps towards openness are met with both prejudice and unexpected warmth, reflecting the broader societal tensions of the era.
Scholarly work on queer cinema supports this reading of identity as a site of personal transformation. Benshoff and Griffin (2006) argue that films depicting queer characters often use personal narratives to challenge hegemonic norms, positioning identity as a dynamic process rather than a static state. In Pride, Joe’s evolving confidence—evident in his eventual coming out to his family—mirrors this perspective, illustrating how identity is shaped by both internal struggles and external interactions. However, the film does not shy away from the limitations of such growth; Joe’s acceptance remains incomplete within his family context, underscoring the persistent barriers faced by queer individuals even in moments of personal triumph.
Collective Class Identity and Social Solidarity
Beyond individual identity, *Pride* examines collective class identity as a unifying yet contentious force. The film juxtaposes the urban, middle-class background of many LGSM members with the working-class, rural identity of the miners. Early encounters between the two groups reveal mutual suspicion, encapsulated in scenes where the miners question the motives of the activists, and the activists struggle to navigate the cultural norms of the mining community. The village hall scene, where LGSM first meets the miners, visually underscores these divides through spatial separation and awkward silences, reflecting broader class tensions in 1980s Britain.
Yet, as the narrative progresses, Pride portrays class identity as a bridge rather than a barrier. Shared experiences of marginalisation—whether due to economic oppression for the miners or social exclusion for the activists—foster a collective identity rooted in resistance. This aligns with Thompson’s (1963) historical analysis of class as a relational concept, formed through shared struggles rather than inherent traits. In the film, this solidarity culminates in the miners’ decision to support gay rights at the Labour Party conference, a historically accurate event that highlights the potential for cross-identity alliances. However, the film’s idealism here can be critiqued for glossing over deeper class antagonisms; as Hill (1986) notes, class solidarity in the miners’ strike was often fractured by regional and political differences, a nuance Pride somewhat overlooks.
Intersectionality of Identities and Political Resistance
Arguably, the most compelling exploration of identity in *Pride* lies in its depiction of intersectionality—the overlapping of sexual, class, and political identities. Characters like Mark Ashton, the fiery leader of LGSM, embody this intersectionality, navigating his identity as a gay man and a political activist within a working-class struggle. A standout scene occurs during a fundraising event in a gay club, where miners and activists dance together, visually merging their distinct identities into a unified act of defiance against oppressive structures. The use of upbeat music and vibrant lighting in this scene contrasts with earlier tones of conflict, symbolising the transformative power of intersecting identities.
This intersectionality resonates with academic discussions of identity politics in the 1980s. Crenshaw (1989), though writing in a different context, provides a framework for understanding how overlapping identities create unique experiences of oppression and resistance. In Pride, the alliance between LGSM and the miners exemplifies how intersecting identities can fuel political resistance, yet the film also hints at the challenges of sustaining such coalitions. For instance, the character of Cliff, a miner with latent prejudices, undergoes a gradual shift in perspective, though his transformation feels somewhat idealised. This raises questions about the film’s portrayal of identity reconciliation—whether it prioritises narrative resolution over the messy realities of social change, a limitation worth considering in any analysis of its themes.
Conclusion
In conclusion, *Pride* (2014) offers a rich exploration of identity through its nuanced depiction of individual sexual identities, collective class dynamics, and the intersectionality of these markers in a politically charged context. Through close analysis of character development, key scenes, and cinematic techniques, this essay has demonstrated how the film positions identity as both a personal journey and a communal struggle, capable of fostering solidarity across seemingly disparate groups. While the narrative occasionally leans towards idealism, overlooking deeper tensions within class and identity politics, it nonetheless provides a compelling lens through which to examine 1980s Britain’s social landscape. The implications of this analysis extend beyond the film, inviting reflection on how identity continues to shape alliances and resistance in contemporary society. Ultimately, *Pride* underscores the potential for shared identities to challenge oppression, even as it acknowledges the persistent barriers to true equality—a message as relevant today as it was during the miners’ strike.
References
- Benshoff, H. M. and Griffin, S. (2006) Queer Cinema: The Film Reader. Routledge.
- Crenshaw, K. (1989) ‘Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Antidiscrimination Doctrine, Feminist Theory and Antiracist Politics’, University of Chicago Legal Forum, 1989(1), pp. 139-167.
- Hill, J. (1986) Sex, Class and Realism: British Cinema 1956-1963. British Film Institute.
- Thompson, E. P. (1963) The Making of the English Working Class. Penguin Books.
