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A series of essays concerning the Gay Liberation Movement, from individuals and groups associated with the movement.
The Gay Liberation Front dragged homosexuality out of the closet, onto the streets and into the public eye. Its London supporters held the first gay demonstrations, organized the first Pride march and ran the first public gay dances in Britain. The Front contained an alliance of lesbians, gay men, bisexuals and transsexuals long before 'queer' was fashionable, and challenged homophobia before we had a word for it. Their direct action and street theatre were the envy of the rest of the revolutionary counterculture, their politics the most diverse, their communes the wildest and their arguments the loudest. In two short years, the Gay Liberation Front created the conditions for a lesbian and gay movement for generations to come and then imploded into fragments that became our newspapers, helplines and activist groups. Lisa Power has gathered the accounts of people who were there, the papers they wrote and the comments of bemused bystanders. She tells the previously unheard stories of the London Gay Liberation Front; of the sisters and brothers who created a brave and resourceful movement out of little but their own will and imagination and who gave us pride and anger and ideals.
Queer Clout weaves together activism and electoral politics to trace the gay movement's path since the 1950s in Chicago. Stewart-Winter stresses gay people's and African Americans' shared focus on police harassment, highlighting how black political leaders enabled white gays and lesbians to join an emerging liberal coalition in city hall.
Film Manifestos and Global Cinema Cultures is the first book to collect manifestoes from the global history of cinema, providing the first historical and theoretical account of the role played by film manifestos in filmmaking and film culture. Focusing equally on political and aesthetic manifestoes, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the world. This volume collects the major European “waves” and figures (Eisenstein, Truffaut, Bergman, Free Cinema, Oberhausen, Dogme ‘95); Latin American Third Cinemas (Birri, Sanjinés, Espinosa, Solanas); radical art and the avant-garde (Buñuel, Brakhage, Deren, Mekas, Ono, Sanborn); and world cinemas (Iimura, Makhmalbaf, Sembene, Sen). It also contains previously untranslated manifestos co-written by figures including Bollaín, Debord, Hermosillo, Isou, Kieslowski, Painlevé, Straub, and many others. Thematic sections address documentary cinema, aesthetics, feminist and queer film cultures, pornography, film archives, Hollywood, and film and digital media. Also included are texts traditionally left out of the film manifestos canon, such as the Motion Picture Production Code and Pius XI's Vigilanti Cura, which nevertheless played a central role in film culture.
Gay activist and former Jesuit priest Goss rejects the imperial Christ of institutional religion and embraces the radical activist Jesus of the Gospels. Goss calls on church leaders to make their churches truly open to gay and lesbian Christians.
This is the first collection of the words and speeches of the founder of the Mattachine Society and the modern gay movement.
This book is a collection of 150 documents from feminist organizations and gatherings in over 50 countries over the course of three centuries. The manifestos are shown to contain feminist theory and recommend actions for change, and also to expand our very conceptions of feminist thought and activism. Covering issues from political participation, education, religion and work to reproduction, violence, racism and environmentalism, the manifestos challenge definitions of gender and feminist movements.