Celebrated by film journalists as the feel-good film of 2014 (Kermode, 2014; Osboldstone, 2014), Pride depicted the unlikely alliance between a group of London based gay activists and the miners from a small, Welsh village during the miners’ strike of 1984. However, the film can also be read as a nostalgic representation of a specific agenda of British Gay Liberation politics in the early 1980s – a period in which one of the main trajectories of Gay Lib was to attempt to eradicate the stigma and shame from the identification of being gay. This article will argue that the film’s inclusion of the fictional character of Gwen is an effective technique of focalising the gay pride mantra through the point of view of a very endearing, older woman whose unassuming and innocent perspective on gender and sexuality politics emphasises the key point made by a faction of Gay Lib at the time: sexual object choice should be no more remarkable than a preference for a specific type of gastronomic fare. This narrative technique can identified as greywashing.

中文翻译：

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``我被告知的女同性恋确实令我震惊。不可能是真的吗？你们都是素食主义者吗？

由电影记者庆祝为2014年感觉很好的电影（Kermode，2014年； Osboldstone，2014年），Pride描绘了一群伦敦同性恋活动家与矿工罢工期间来自威尔士小村庄的矿工之间不太可能的结盟。 1984年。不过，这部电影也可以看作是对1980年代初期英国同性恋解放政治特定议程的怀旧表现，在这一时期，同性恋解放运动的主要轨迹之一是试图消除同性恋的耻辱感和羞辱感。识别同性恋。本文将论证，影片包含格温的虚构人物是通过非常讨人喜欢的角度聚焦同性恋自豪感的有效技术，年长的女人，其对性别和性政治的朴素和无私的观点强调了当时盖伊·里伯（Gay Lib）派别提出的要点：性对象的选择应该比对特定类型美食的选择更有意义。这种叙事技术可以识别为洗灰。