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Through intimate encounters with the life and work of five contemporary gay male directors, this book develops a framework for interpreting what it means to make a gay film or adopt a gay point of view. For most of the twentieth century, gay characters and gay themes were both underrepresented and misrepresented in mainstream cinema. Since the 1970s, however, a new generation of openly gay directors has turned the closet inside out, bringing a poignant immediacy to modern cinema and popular culture. Combining his experienced critique with in-depth interviews, Emanuel Levy draws a clear timeline of gay filmmaking over the past four decades and its particular influences and innovations. While recognizing the "queering" of American culture that resulted from these films, Levy also takes stock of the ensuing conservative backlash and its impact on cinematic art, a trend that continues alongside a growing acceptance of homosexuality. He compares the similarities and differences between the "North American" attitudes of Todd Haynes, Gus Van Sant, and John Waters and the "European" perspectives of Pedro Almodóvar and Terence Davies, developing a truly expansive approach to gay filmmaking and auteur cinema.
Recognizing the innovative work and distinct sensibilities of five major gay American and European film directors.
B. Ruby Rich designated a brand new genre, the New Queer Cinema (NQC), in her groundbreaking article in the Village Voice in 1992. This movement in film and video was intensely political and aesthetically innovative, made possible by the debut of the camcorder, and driven initially by outrage over the unchecked spread of AIDS. The genre has grown to include an entire generation of queer artists, filmmakers, and activists. As a critic, curator, journalist, and scholar, Rich has been inextricably linked to the New Queer Cinema from its inception. This volume presents her new thoughts on the topic, as well as bringing together the best of her writing on the NQC. She follows this cinematic movement from its origins in the mid-1980s all the way to the present in essays and articles directed at a range of audiences, from readers of academic journals to popular glossies and weekly newspapers. She presents her insights into such NQC pioneers as Derek Jarman and Isaac Julien and investigates such celebrated films as Go Fish, Brokeback Mountain, Itty Bitty Titty Committee, and Milk. In addition to exploring less-known films and international cinemas (including Latin American and French films and videos), she documents the more recent incarnations of the NQC on screen, on the web, and in art galleries.
Over the decades, gay cinema has reflected the community's journey from persecution to emancipation to acceptance. Politicized dramas like Victim in the 1960s, The Naked Civil Servant in the 1970s, and the AIDS cinema of the 1980s have given way in recent years to films which celebrate a vast array of gay lifestyles. Gay films have undergone a major shift from the fringe to the mainstream—2005’s Academy Awards were dubbed "the gay Oscars" with statues going to Brokeback Mountain, Capote, and Transamerica. Producers began clamoring to back gay-themed movies and the most high profile of these is Gus Van Sant’s forthcoming Milk, starring Sean Penn as Harvey Milk, the first prominent American political figure to be elected to office on an openly gay ticket back in the 1970s. The book also covers gay filmmakers and actors and their influence within the industry, the most iconic scenes from gay cinema, and the most memorable dialogue from key films.
B. Ruby Rich designated a brand new genre, the New Queer Cinema (NQC), in her groundbreaking article in the Village Voice in 1992. This movement in film and video was intensely political and aesthetically innovative, made possible by the debut of the camcorder, and driven initially by outrage over the unchecked spread of AIDS. The genre has grown to include an entire generation of queer artists, filmmakers, and activists. As a critic, curator, journalist, and scholar, Rich has been inextricably linked to the New Queer Cinema from its inception. This volume presents her new thoughts on the topic, as well as bringing together the best of her writing on the NQC. She follows this cinematic movement from its origins in the mid-1980s all the way to the present in essays and articles directed at a range of audiences, from readers of academic journals to popular glossies and weekly newspapers. She presents her insights into such NQC pioneers as Derek Jarman and Isaac Julien and investigates such celebrated films as Go Fish, Brokeback Mountain, Itty Bitty Titty Committee, and Milk. In addition to exploring less-known films and international cinemas (including Latin American and French films and videos), she documents the more recent incarnations of the NQC on screen, on the web, and in art galleries.
Jacques Martineau, Olivier Ducastel, Alain Guiraudie, Sébastien Lifshitz and Céline Sciamma. The films of these five major French directors exemplify queer cinema in the twenty-first century. Comprehensive in scope, Queer cinema in contemporary France traces the development of the meaning of queer across these directors’ careers, from their earliest, often unknown films to their later, major films with wide international release. Whether having sex on the beach or kissing in the high school swimming pool, these cinematic characters create or embody forward-looking, open-ended and optimistic forms of queerness and modes of living, loving and desiring. Whether they are white, beur or black, whether they are lesbian, gay, trans* or queer, they open up hetero- and cisnormativity to new ways of being a gendered subject.
John Waters, Gus Van Sant, and beyond: gay and lesbian filmmakers, in their own words.
From Hollywood films to TV soap operas, from Vegas extravaganzas to Broadway theater to haute couture, this comprehensive encyclopedia contains over 200 entries and 200 photos that document the irrepressible impact of queer creative artists on popular culture. How did Liberace’s costumes almost kill him? Which lesbian comedian spent her high school years as “the best white cheerleader in Detroit?” For these answers and more, fans can dip into The Queer Encyclopedia of Film, Theater, and Popular Culture. Drawn from the fascinating online encyclopedia of queer arts and culture, www.glbtq.com — which the Advocate dubbed “the Encyclopedia Brittaniqueer” — this may be the only reference book in which RuPaul and Jean Cocteau jostle for space. From the porn industry to the Sisters of Perpetual Indulgence, from bodybuilding to Dorothy Arzner, it’s a queer, queer world, and The Queer Encyclopedia is the indispensable guide: readable, authoritative, and concise. And perfect to read by candelabra. (The answers to the two questions above: from the dry cleaning fumes, Lily Tomlin.)
A fascinating glimpse into the beginning and development of gay- and lesbian-themed films, from Maedchen in Uniform in 1931 to such current films as Philadelphia and Wilde, provides reviews and evaluations, and details the director's attitude toward public response and criticism. Original.