Votre recherche

Today’s explosion of Swedish films made by and about transgender people is sometimes considered in a vacuum. This article explores the long history of cross-gender performance in Swedish cinema and the relationship of these new films to older traditions. In this article, I will outline the contours of cross-gender performance in Swedish films from the 1908 to today, using some exemplary films to display the variety of styles, genres, and meanings that can be found: the short dance film Dances Through the Ages ( Skilda tiders danser , Walfrid Bergström, 1909); the swashbuckler Lasse-Maja (Gunnar Olsson, 1941); the romantic comedy Up With Little Märta ( Fram för Lilla Märta , Hasse Ekman, 1945); the dramatic art film The Magician ( Ansiktet , Ingmar Bergman, 1958); the recent romantic comedy Cockpit (Mårten Klingberg, 2012); and the trans art film Everything Falls Apart ( Nånting måste gå sönder , Ester Martin Bergsmark, 2016). I will show that the two main shifts in Swedish cinema’s representation of cross-gender performance occurred in the mid-1950s and in the 1990s, due to social changes and changes in the structure of the Swedish film industry. In Swedish cinema, as elsewhere, cross-dressing has never meant any one thing, so we must attend to the specific contexts of its expression in order to understand what it meant.

Undercurrents engages the critical rubric of "queer" to examine Hong Kong's screen and media culture during the transitional and immediate postcolonial period. Helen Hok-Sze Leung draws on theoretical insights from a range of disciplines to reveal parallels between the crisis and uncertainty of the territory's postcolonial transition and the queer aspects of its cultural productions. Leung explores Hong Kong cultural productions -- cinema, fiction, popular music and subcultural projects -- and argues that while there is no overt consolidation of gay and lesbian identities in Hong Kong culture, undercurrents of diverse and complex expressions of gender and sexual variance are widely in evidence. Undercurrents uncovers a queer media culture that has been largely overloo... Source: Publisher

How might certain moving images move us into transgender becoming? Th e recent proliferation of transgender images in the media of the Global North has been widely regarded as supporting transgender political and social equality.

Transgender representations generally distance the transgender characters from the audience as objects of ridicule, fear, and sympathy. This distancing is accomplished through the use of specific narrative conventions and visual codes. In this dissertation, I analyze representations of transgender individuals in popular film comedies, thrillers, and independent dramas. Through a textual analysis of 24 films, I argue that the narrative conventions and visual codes of the films work to prevent identification or connection between the transgender characters and the audience. The purpose of this distancing is to privilege the heteronormative identities of the characters over their transgender identities. This dissertation is grounded in a cultural studies approach to representation as constitutive and constraining and a positional approach to gender that views gender identity as a position taken in a specific social context. Contributions are made to the fields of communication, film studies, and gender studies through the methodological approach to textual analysis of categories of films over individual case studies and the idea that individuals can be positioned in identities they do not actively claim for themselves. This dissertation also makes a significant contribution to conceptions of the gaze through the development of three transgender gazes that focus on the ways the characters are visually constructed rather than the viewpoints taken by audience members. In the end, transgender representations work to support heteronormativity by constructing the transgender characters in specific ways to prevent audience members from developing deeper connections with them.

Discussions of established women filmmakers whose careers have produced major bodies of work, as well as newer filmmakers and new media artists.

Since Nell Shipman wrote and starred in Back to God's Country (1919), Canadian women have been making films. The accolades given to film-makers such as Patricia Rozema (I've Heard the Mermaids Singing, When Night is Falling), Alanis Obomsawin (My Name Is Kahenttiiosta, Walker), and Micheline Lanctot (Deux Actrices) at festivals throughout the world in recent years attest to the growing international recognition for films made by Canadian women. With Gendering the Nation the editors have produced a definitive collection of essays, both original and previously published, that address the impact and influence of a century of women's film-making in Canada. In dialogue with new paradigms for understanding the relationship of cinema with nation and gender, Gendering the Nation seeks to situate women's cinema through the complex optic of national culture. This collection of critical essays employs a variety of frameworks to analyse cinematic practices that range from narrative to documentary to the avant garde.

In 1989, three years before the New Queer Wave was even invented or discovered, two very different yet interconnected films were produced on either side of the Atlantic. Both soon became critically successful and both would win a number of prizes at different international film festivals and venues. In retrospect, these two films have come to constitute the very incitement to the Wave. British filmmaker Isaac Julien’s Looking for Langston premiered in early 1989 and American filmmaker Marlon Riggs’s Tongues Untied premiered later that same year, the latter including a still photo from the former so as to pay homage

Cheryl Dunye's 1996 film The Watermelon Woman earned a place in cinematic history as the first feature-length narrative film written and directed by an out black lesbian about black lesbians. This article examines how the film provides an important opportunity to mark the burgeoning genre of black queer documentary as a historiographical medium. The documentary film is a tool that highlights underexplored issues in black experience and provides a cultural site for imagining new possibilities for black lesbian subjectivity and creating innovative approaches to representing sexuality in black filmmaking.

This dissertation is about gay and lesbian film festivals, the first of which was founded in San Francisco in 1977 and subsequently served as a model for their international proliferation over the next thirty years. While the films programmed in these festivals have received a great deal of attention from scholars and critics, the festival institution itself has received less consideration. This dissertation narrates the history of gay and lesbian film festivals through an economic lens, asking how fundraising practices have been deployed in the community building projects of festivals, how the administrative structures of festivals as nonprofit organizations have been leveraged by the state toward the management of new social movements, and how these nonprofits have participated in the identification and cultivation of populations as niche markets by the commercial sector. This historical schema will offer an alternative model for understanding queer image production, not through a textual analysis of those images, but through an examination of the material circumstances of their circulation and distribution. This dissertation is not simply about the ways that community organizations like film festivals have been strategically engaged by the state and the market in the management and exploitation of gays and lesbians, it argues that gays and lesbians themselves have articulated their politics, artistic practice, and discourse of community within (and against) the parameters defined by the demands of organizational sustainability. Furthermore, this dissertation will illustrate why taking economic activity seriously as a part of the material practices of queer image production answers crucial questions about the ways that sexuality operates as a category of governance. The history of gay and lesbian film festivals, and their regulation through the administrative structures of the nonprofit sector, is part of a much larger history of political struggle and the development of new social movements over the past three decades.

Marlon Rachquel Moore interviews emerging independent filmmaker Tina Mabry about her southern upbringing, racial and sexual consciousness, and the joys and turbulence of bringing her first feature-length film, Mississippi Damned, to the silver screen. Mississippi Damned is based on Mabry's family and set in her hometown of Tupelo, Mississippi.

The Velvet Light Trap 53 (2004) 26-39 On December 2, 2001, HBO began airing Project Greenlight, a twelve-part documentary series chronicling the production of a feature film by novice writer-director Pete Jones. With its spectacle of backroom dealings, unchecked egos, and human frailties, the television series capitalized on the contemporaneous success of like-minded "reality" programs such as Survivor and Temptation Island. Perhaps more closely, Project Greenlight also tapped into the current vogue for the "behind-the-scenes" and the "making-of" genres, represented by straight-to-video titles such as Star Trek-Deep Space Nine: Behind the Scenes (1993), Making of Jurassic Park (1995), and The Matrix Revisited (2001), television programs such as the Sundance Channel's Anatomy of a Scene, HBO's First Look, and MTV's Making the Video, and the proliferation of behind-the-scenes and making-of packaging on DVDs. A reflection of the growth of film-related ancillary products in the 1980s, the ever-expanding Hollywood ego, and the demands of a twenty-four-hour television cable market, the increased appearance of the making-of documentary format no doubt also reflects the renewed interest in amateur filmmaking promulgated by the age of desktop video. Perhaps as a manifestation of this interest, making-of documentaries have become increasingly more detailed in their coverage. Whereas the 1981 television special The Making of "Raiders of the Lost Ark" (Phillip Schuman) focuses mostly on the film's stunt work, special effects, location shoots, and set design, the recently released making-of documentary The Matrix Revisited focuses on script development, preproduction, production, postproduction, and exhibition, introducing viewers to costume designers, storyboard artists, and editors along the way. This attention to production detail can also be seen in Sundance's Anatomy of a Scene, which hones in on the construction, from music to costume to camera work, of a single scene. And certainly raising the bar on the level of detail included in the making-of genre is Project Greenlight, which is a "warts-and-all" look at film production, from squabbles over budgets to catering fiascos. Despite the making-of video's increased attention to the minutiae of filmmaking, one of the areas that remains outside the purview of most Hollywood making-of documentaries is the production of sex. Discussions about the cinematic logistics of creating a sex scene—how, when, and with what resources—are usually not featured in making-of documentaries. Of course, given our celebrity-driven culture, the question of sex vis-à-vis film production, particularly a Hollywood film production, is hardly absent from the publicity that surrounds a film. It is not uncommon to hear actresses or actors discussing what it was like to kiss another actor on the set. But these kinds of concerns are usually the province of entertainment magazines and television, not the province of ancillary related products such as the making-of video. While stories of roles requiring nudity or sex scenes abound on television shows such as Access Hollywood, Entertainment Tonight, and E! News Daily,these kinds of topics are less likely to appear in production-generated documentaries. Indeed, while the production of the provocative sex scene between Halle Berry and Billy Bob Thornton in Monster's Ball (Marc Forster, 2001) generated much discussion on television entertainment programs, talk shows, and newsmagazines, it was the film's prison execution sequence that was featured in the Sundance Channel's making-of special on the film. Given the lack of focus on sex scenes in most making-of documentaries, it is interesting to note that the two existing making-of documentaries for lesbian-made, lesbian-themed feature films—The Making of Bar Girls (1995) and Moments: The Making of Claire of the Moon (1992)—both heavily focus on the production of lesbian sex. Moreover, both lesbian making-of documentaries emphasize the cast's and the crew's sexual titillation over the creation of sexual sequences. In this essay I look at what this strategy reveals about the collective climate and concerns of lesbian feature filmmaking in the United States today.

Thérèse Lamartine est bien connue des milieux féministes. Détentrice d’une maîtrise en études cinématographiques, elle a publié Elles, cinéastes... ad lib, en 1985, aux Éditions Remue-ménage, dans lequel elle présentait des réalisatrices de diverses origines, actives entre 1895 et 1981. En 2009, elle publiait Soudoyer Dieu, un roman scrutant la longue et inconsolable douleur d’un groupe de femmes après la tuerie de Polytechnique. Avec Le Féminin au cinéma, une petite plaquette consacrée aux films «de femmes» ou, comme elle le précise, aux films qui «sculptent un art du mieux-vivre la mixité dans nos sociétés ou [qui] débrident les stéréotypes et nous dérident à la fois», Lamartine ouvre les portes d’un monde cinématographique souvent méconnu et rend hommage à des femmes de cinéma, autant derrière que devant la caméra. En sortant ces femmes de l’ombre, elle met au jour un cinéma riche et original, mais méconnu.

The queer women's comedic web series that have flourished in the last decade, serving as launching pads for their creators, coincided with media-industry nichification's segmentation of a consumer population regarded by advertisers and content providers as one monolithic LGBTQ community. The series I examine-from The Slope, which premiered in 2010, to Strangers, released in 2017-voice their creators' and characters' marginalization from and even opposition to such an imagined community, through recourse to what I call a "bad queer" rhetorical practice, which uses ironic metacommentary to critique assimilationist values and tropes alongside queer identity policing. These series emerged, at least initially, as an alternative sphere of queer media production and a queer discursive mode that employs disidentification as a politicized strategy to challenge dominant LGBTQ scripts. Offering an irreverent alternative to mainstream and millennial LGBTQ cultural products, these "bad queer" web series express the plurality of the queer "community" and expose political contestations within its ranks, and in so doing serve as brand differentiation for a new generation of queer media producers.

Most writing on transgender cinema focuses on representations of trans people, rather than works made by trans people. This article surveys the history of trans and gender variant people creating audiovisual media from the beginning of cinema through today. From the professional gender impersonators of the stage who crossed into film during the medium’s first decades to selfidentified transvestite and transsexual filmmakers, like Ed Wood and Christine Jorgensen of the mid-twentieth century, to the enormous upsurge in trans filmmaking of the 1990s, this article explores the rich and complex history of trans and gender variant filmmaking. It also considers the untraceable gender variant filmmakers who worked in film and television without their gender history becoming known and those who made home movies that have been lost to history.

The article offers information related to the incention of digital remix culture by black men and queer women. It mentions about technique of extracting segments from existing recordings and using them to form the musical tracks of hiphop songs; and nonqueer and nonfemale people have participated heavily in fan production, digital sampling and gave rise to culture that has proliferated and thrived on the internet primarily through the creative labor of minority musical and fiction artists.

Examines the soundscapes of Derek Jarman's film "Blue" (1993) and Isaac Julien's video installation 'True north' (2007), and the way they contribute to promoting embodied responses in the viewer. Draws on the writings of Luce Irigaray and Laura U. Marks to explore the relationship between haptic theory and queer spectatorship.

The overlap of marginalised race and sexuality is highlighted in the 1990 documentary "Paris is burning" which depicts the life of New York's black and Latino drag queens. The author offers an analysis of the social circumstances that gave birth to this culture which originated in 1980s Harlem.

Introduction and seven articles looking at the range of present-day queer cinema to be found.

The Internet distribution of lesbian-focused films seen as an example of the ways in which independent producers and distributors are offering their films for sale on the web. Incl. a table comparing costs and number of films available across a range of legal and illegal sites.

Analyses the narrative and formal elements of Kim Kyung-mook's "Stateless things" (2011) to argue how it critiques South Korea’s ethnocentrism and homophobic social structures by delineating a queer use of space. Gives recent examples of homoeroticism in commercial and independent South Korean cinema. Argues that Kim's film expand the definition of queer Korean cinema by deconstructing and reconstructing the heteronormative, progress-driven cityscape of Seoul.