AIDS: Keeping New Queer Cinema Alive “Queer Cinema is Back” – headlines the front page of the 2005 issue of the Advocate, signifying to a new flood of movies making way into theatres. Five years prior to this news release B. Ruby Rich, who coined the art as New Queer Cinema almost a decade earlier, declared that the cinema had co-opted into “just another niche market” dominated by popular culture (Morrison 135 & Rich 24). What had seemed to be a movement, turned out to be only a moment in the brief
“straight norms” (Nowlan 8), among which patriarchy and a strong division between the feminine and the masculine play a leading role. In some cases, subverting heteronormativity is the main idea and aim behind many films portraying in some ways the queer community. However, there are also films that, in spite of having, for example, homosexual characters, do not “act queerly”; in fact, some of these even reinforce heteronormativity and are thus counter-productive to the LGBT community. One example
Rainer Werner Fassbinder is one of the most prominent Brechtian filmmakers of the New German Cinema Period. His work closely resembled that of Brecht which could be due to that they had similar ideologies and backgrounds in the sense that they both saw problems with the people of their country becoming passive consumers and less becoming active producers. This was achieved by making the audience aware of what they are watching and allowing them to see the political aesthetics. According to Alan Lovell
queerness in independent cinema and acts as a great vehicle for the exploration of identity in LGBT+ communities and within popular culture. Queerness in Velvet Goldmine becomes a lens by which we can further understand the importance of identity as subject in American independent cinema, queerness as private
What constitutes a ‘good’ queer cinema? The question is as ambiguous as the idea of queer theory, which in its actuality is characterized to be “…nothing in particular to which it necessarily refers. It is an identity without a [defined] essence”. The combination of queer theory’s fluid nature and the rather touchy subject of queer history often make it difficult to draw black and white conclusions on what discerns an exceptional queer film from a mediocre one. Blue Is the Warmest Colour, based on
For the purpose of this study, I will critically examine the representation of homosexuality in Hollywood cinema. I will specifically analyse films from the early 90’s to mid 2000’s from ‘Philadelphia’ to ‘Brokeback Mountain’. This dissertation will argue that over the space of 12 years homosexuality has become an acceptable part of cinema. I will look at early Hollywood’s representation of homosexuality depicting how aesthetically so much has changed. The current paper will predominantly focus on
concerning the portrayal of gay community members could be linked to the overuse and dehumanization of queer stereotypes used as comedic relief throughout film history. The overall delayment in the representation of homosexuals paused the long march for equal rights even outside of the cinematic world. In result of conservative rejection toward such liberal topics, filmmakers had to conceal “queer cinema” as production codes enforced strict laws but as time progressed so did the involvement of the LGBTQ
acceptable to society by having celebrities coming out like Ellen Degeneres during her tv show Ellen. The two kinds of media contrast as a form of whether or not to come out as a gay or not during a time when AIDs was prominent and new. Within the early 1990s there is a rise in queer culture that many people did not know for what it was. At first, the United States thought it was problematic because it was an invasion on the home-front and the country is trying to figure out its own identity culturally,
reality-makeover show that became a national obsession. The show was "Queer Eye for the Straight Guy." Two years earlier, in December of 2000, Showtime produced what was to become one of the most controversial and popular television shows in the network's history: "Queer as Folk," inspired by the BBC original of the same name. Queer was here- in a big, bold way. These two pop culture phenomenon set up a discourse for the pivotal word in each title, "Queer." Examining both in the context of their own, self-prescribed
When we hear queer, we do not say “Little Red Riding Hood” off the bat. In the articles from scholars there is a focus on different parts of “Little Red Riding Hood”, messages and how versions are seen as queer in the fairytale. In the article "A Wolf's Queer Invitation: David Kaplan's Little Red Riding Hood and Queer Possibility" by Jennifer Orme, she analyzes the word queer in "Little Red Riding Hood" which has many meanings to the different versions of the fairytale. “Queer reading, however
In comparison to Plata Quemada, and a precise decade later depiction of queer movements is outsized. With an even vaster depiction of homosexuality if you were to add another decade, like the very recently released Pride and Love is Strange. Going back to the elaborate scene of sophistication by Piñeyro, the heist comprises
keen to see some acclaimed new releases. Be part of the buzz of the Melbourne International Film Festival or catch some much-anticipated world premieres at the Adelaide Film Festival. Pack a picnic for Sydney’s Tropfest, the world’s largest short film festival. Or get a heady dose of independent films in Perth. See Australia’s landscapes showcased in the Darwin Festival, get a window onto other worlds at the Canberra International Film Festival or catch the best cinema from across Asia-Pacific at
Film scholar Louis Gianetti says, “In the field of cinema, the achievement of the Women’s Movement [of the 1960’s] has been considerable, though most present-day feminists would insist that there is still much to be accomplished in the battle against patriarchal values” (428). Gianetti’s words are an understatement. Women in Hollywood are underrated, underrepresented, and generally shoved into the background of the film industry. However, with film becoming one of the most pervasive and influential
problems as well.) is also problematic. It is problematic because there is a vast divide in the a lack of representation of queer women and female sexuality in Bollywood cinema. (,) In comparison to the representation of gay men in Bollywood cinema, there is a vast divide. This divide can be seen to by demonstrateing how and why male sexuality is more accepted in Bollywood cinema than is female sexuality. In arguing these points (,) I will compare and contrast on films that showcase lesbianism to films
This 85-minute movie, labeled as a comedy and romance, still provides comedic relief 25 years after its release. Despite its label as a comedic romance, the film revolves around a much more threatening topic for queer people: conversion therapy. However, that is why I think most queer people I know who have watched this movie find it funny — because it makes fun of conversion therapy, and many use humor as a coping mechanism for fears or trauma. But I’m a Cheerleader is a movie that deserves more
fact that Kevin is bisexual, he does not fall into the stereotypical caricature of a deceptive Black man on the “down low.” The approach that the writers and directors chose for the movie is rare because it normalizes Black males who happen to be queer. Especially considering the socio-political conversations that were happening with the black body around the time. Kevin breaks some stereotypes about men, but he also confirms some of the same. According to Kimmel, masculinity develops into a defense
1.2 Research Focus and Rationale This research will examine gender and sexual fluidity, analysing its portal in the Irish media. LGBTQ identity has become a topical subject due to the growing social change over the last two decades, and looking at how sexuality is frequently discussed in the media, it can be seen that people in Ireland now have the ability to talk more about sexuality and sexual identity. Hall argued that the media message does not end with the text but that it follows a process
Although Latter Days presents manifold homosexual characters, all of them are highly stereotyped. C. Jay Cox’s movie Latter Days tells the story of Aaron, a Mormon, who moves to Los Angeles as a missionary and falls in love with party boy Christian. As Aaron’s family discovers their affection for each other, Aaron is excommunicated. After a failed suicide attempt, his religious parents send him to a treatment facility in order to cure their son of his homosexuality. Only when Aaron conclusively turns
William Shakespeare, the figure to whom the most influential works of literature in history are credited, was born in April of 1564 (the exact date is approximated as April 23rd, also the date given as his death fifty-two years later) in Stratford, England to John and Mary Shakespeare. He grew up in relatively middle-class surroundings, attending grammar school and studying Latin, logic, and literature, from which he graduated to marry a woman by the name of Anne Hathaway. With Hathaway he had
important sites where viewers negotiate personal and cultural concepts of sexuality and subjectivity. This queer reading of Buffy the Vampire Slayer investigates the disguised homo-erotic tensions between the out lesbian characters in the series. It avoids an elaborate search for homoerotic and non-normative sexual couplings between other characters in the series. If I were to do such a queer reading, I would probably concentrate on the Willow and Buffy (Sarah Michelle Gellar), or Faith (Eliza Dushku)