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A Queer Film Classic on the controversial, funny 1993 film musical about AIDS that refutes the legend of Patient Zero.
Coined in the early 1990s to describe a burgeoning film movement, 'New Queer Cinema' has turned the attention of film theorists, students and audiences to the proliferation of intelligent, stylish and daring work by lesbian and gay filmmakers within independent cinema, and to the proliferation of 'queer' images and themes within the mainstream. But what constituted New Queer Cinema then and now? And was it political gains, cultural momentum or market forces that determined its evolution? New Queer Cinema is divided into sections on the definition, the filmmakers, the geography, and the spectator of New Queer Cinema. Chapters address the pivotal directors (e.g. Todd Haynes and Gregg Araki) and the salient films (e.g. Paris is Burning and Boys Don't Cry) but also non-mainstream and non-Anglo-American work (e.g. experimental film and third cinema). With a critical eye to its uneasy relationship to the mainstream, the volume explores the aesthetic, socio-cultural, political and, necessarily, commercial investments of New Queer Cinema. This book, the first full-length study of the subject, offers the definitive guide to New Queer Cinema combining indispensable discussions of its central issues with exciting new work by key writers. Features*Provides a definitive introduction to New Queer Cinema (NQC)*Clear structure with each section addressing a key topic in the study of NQC*Themes covered include genre, gender and race, politics, media, and the relationship between NQC and the mainstream.
The Advocate is a lesbian, gay, bisexual, transgender (LGBT) monthly newsmagazine. Established in 1967, it is the oldest continuing LGBT publication in the United States.
Contestations over the meaning and practice of sexuality have become increasingly central to cultural self-definition and critical debates over issues of identity, citizenship and the definition of humanity itself. In an era when a religious authority can declare lesbians antihuman while some nations legalise same-sex marriage and are becoming increasingly tolerant of a variety of non-normative sexualities, it is hardly surprising that science fiction, in turn, takes up the task of imagining a diverse range of queer and not-so-queer futures. The essays in Queer Universes investigate both contemporary and historical practices of representing sexualities and genders in science fiction literature. Queer Universes opens with Wendy Pearson's award-winning essay on reading sf queerly and goes on to include discussions about 'sextrapolation' in New Wave science fiction, 'stray penetration' in William Gibson's cyberpunk fiction, the queering of nature in ecofeminist science fiction, and the radical challenges posed to conventional science fiction in the work of important writers such as Samuel R. Delany, Ursula K. Le Guin, and Joanna Russ. In addition, Queer Universes offers an interview with Nalo Hopkinson and a conversation about queer lives and queer fictions by authors Nicola Griffith and Kelley Eskridge.
Whether addressing HIV/AIDS, the policing of bathroom sex, censorship, or anti-globalization movements, John Greyson has imbued his work with cutting humour, eroticism, and postmodern aesthetics. Mashing up high art, opera, community activism, and pop culture, Greyson challenges his audience to consider new ways that images can intervene in both political and public spheres. Emerging on the Toronto scene in the late 1970s, Greyson has produced an eclectic, provocative, and award-winning body of work in film and video. The essays in The Perils of Pedagogy range from personal meditations to provocative textual readings to studies of the historical contexts in which the artist's works intervened politically as well as artistically. Notable writers from a range of disciplines as well as prominent experimental and activist filmmakers tackle questions of documentary ethics, moving image activism, and queer coalitional politics raised by Greyson's work. Close to one hundred frame captures and stills from almost sixty works, along with articles, speeches, and short scripts by Greyson - several never before published - supplement the collection. Celebrating thirty years of passionate, brilliant, and affecting moviemaking, The Perils of Pedagogy will fascinate both specialists and general readers interested in media activism and advocacy, censorship, and freedom of expression.
Queer Nostalgia in Cinema and Pop Culture is a fascinating study of queer nostalgia in films, animation and music videos as means of empowerment, re-evaluating and recreating lost gay youth, coming to terms with one's sexual otherness and homoerotic desires, and creatively challenging homophobia, chauvinism, ageism and racism.
"The Queer Biopic returns to the historical moment of the AIDS crisis and the emergence of New Queer Cinema to investigate the phenomena of queer biopic films produced during the late 1980s-early 1990s. More specifically, the book asks why queer filmmakers repeatedly produced biographical films of queer individuals living and dead throughout the years surrounding the AIDS crisis. While film critics and historian typically treat the biopic as a conservative, if not cliché, genre, queer filmmakers have frequently used the biopic to tell stories of queer lives. This project pays particular attention to the genre's queer resonances, opening up the biopic's historical connections to projects of education, public health, and social hygiene, along with the production of a shared history and national identity. Queer filmmakers' engagement with the biopic evokes the genre's history of building life through the portrayal of lives worthy of admiration and emulation, but it also points to another biopic history, that of representing lives damaged. By portraying lives damaged by inconceivable loss, queer filmmakers challenge the illusion of a coherent self presumably reinforced by the biopic genre and in doing so, their films open up the potential for new means of connection and relationality. The book features fresh readings of the cinema of Derek Jarman, John Greyson, Todd Haynes, Barbara Hammer, and Tom Kalin. By calling for a reappraisal of the queer biopic, the book also calls for a reappraisal of New Queer Cinema's legacy and its influence of contemporary queer film"--
In Reframing Bodies, Roger Hallas illuminates the capacities of film and video to bear witness to the cultural, political, and psychological imperatives of the AIDS crisis. He explains how queer films and videos made in response to the AIDS epidemics in North America, Europe, Australia, and South Africa challenge longstanding assumptions about both historical trauma and the politics of gay visibility. Drawing on a wide range of works, including activist tapes, found footage films, autobiographical videos, documentary portraits, museum installations, and even film musicals, Hallas reveals how such “queer AIDS media” simultaneously express both immediacy and historical consciousness. Queer AIDS media are neither mere ideological critiques of the dominant media representation of homosexuality and AIDS nor corrective attempts to produce “positive images” of people living with HIV/AIDS. Rather, they perform complex, mediated acts of bearing witness to the individual and collective trauma of AIDS. Challenging the entrenched media politics of who gets to speak, how, and to whom, Hallas offers a bold reconsideration of the intersubjective relations that connect filmmakers, subjects, and viewers. He explains how queer testimony reframes AIDS witnesses and their speech through its striking combination of direct address and aesthetic experimentation. In addition, Hallas engages recent historical changes and media transformations that have not only displaced queer AIDS media from activism to the archive, but also created new witnessing dynamics through the logics of the database and the remix. Reframing Bodies provides new insight into the work of Gregg Bordowitz, John Greyson, Derek Jarman, Matthias Müller, and Marlon Riggs, and offers critical consideration of important but often overlooked filmmakers, including Jim Hubbard, Jack Lewis, and Stuart Marshall.
The Advocate is a lesbian, gay, bisexual, transgender (LGBT) monthly newsmagazine. Established in 1967, it is the oldest continuing LGBT publication in the United States.
Following the 1996 treaty ending decades of civil war, how are Guatemalans reckoning with genocide, especially since almost everyone contributed in some way to the violence? Meaning “to count, figure up” and “to settle rewards and punishments,” reckoning promises accounting and accountability. Yet as Diane M. Nelson shows, the means by which the war was waged, especially as they related to race and gender, unsettled the very premises of knowing and being. Symptomatic are the stories of duplicity pervasive in postwar Guatemala, as the left, the Mayan people, and the state were each said to have “two faces.” Drawing on more than twenty years of research in Guatemala, Nelson explores how postwar struggles to reckon with traumatic experience illuminate the assumptions of identity more generally. Nelson brings together stories of human rights activism, Mayan identity struggles, coerced participation in massacres, and popular entertainment—including traditional dances, horror films, and carnivals—with analyses of mass-grave exhumations, official apologies, and reparations. She discusses the stereotype of the Two-Faced Indian as colonial discourse revivified by anti-guerrilla counterinsurgency and by the claims of duplicity leveled against the Nobel laureate Rigoberta Menchú, and she explores how duplicity may in turn function as a survival strategy for some. Nelson examines suspicions that state power is also two-faced, from the left’s fears of a clandestine para-state behind the democratic façade, to the right’s conviction that NGOs threaten Guatemalan sovereignty. Her comparison of antimalaria and antisubversive campaigns suggests biopolitical ways that the state is two-faced, simultaneously giving and taking life. Reckoning is a view from the ground up of how Guatemalans are finding creative ways forward, turning ledger books, technoscience, and even gory horror movies into tools for making sense of violence, loss, and the future.