DOCSLIB.ORG

Marlon Riggs

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Marlon Riggs Speaking the Self: Cinema of Transgression Flaming Creatures “At once primitive and sophisticated, hilarious and poignant, spontaneous and studied, frenzied and languid, crude and delicate, avant and nostalgic, gritty and fanciful, fresh and faded, innocent and jaded, high and low, raw and cooked, underground and camp, black and white and white on white, composed and decomposed, richly perverse and gloriously impoverished, Flaming Creatures was something new. Had Jack Smith produced nothing other than this amazing artifice, he would still rank among the great visionaries of American film.” [J. Hoberman] Jack Smith: Flaming Creatures, 1963 • Writer, performance artist, actor. Classic “downtown” underground personality. • Smith endorsed a realm of “secret flix” ranging from B-grade horror movies to Maureen O'Hara Spanish Galleon films, from Busby Berkeley musicals to Dorothy Lamour sarong movies. Singled out Universal Pictures' “Queen of Technicolor,” Maria Montez, star of exotic adventure films such as Arabian Nights (1942), Ali Baba and the Forty Thieves (1944), and Cobra Woman (1944). • Loose tableau set to scratchy needle-drop music: “polymorphous perverse.” • Banned in New York state, 1964. Vigorous defense by Susan Sontag and others. Outsiders • David Lynch: “John Waters opened up an important space for all of us.” Pink Flamingos • Why has this work come to be celebrated? Midnight Movie shock value or esthetic/cultural importance? • What role does this film play in the lives of its actors? • Film as an esthetic experience vs. film as a liberatory social rallying cry. Compare to punk music. • How does this film address its audience? How might “specific, historical audiences” read this differently? Outsiders “The term camp—normally used as an adjective, even though earliest recorded uses employed it mainly as a verb—refers to the deliberate and sophisticated use of kitsch, mawkish or corny themes and styles in art, clothing or conversation. A part of the anti-Academic defense of popular culture in the sixties, camp came to academic prominence in the eighties with the widespread adoption of the Postmodern views on art and culture. “Camp” Sensibility Much like the closely related notion of kitsch, camp has traditionally been viewed as hard to define. Susan Sontag, in her famous 1964 essay "Notes on 'Camp' ", emphasises artifice, frivolity, and shocking excess as the key notes. While the common use of the concept includes these, usually the element of naïve middle-class pretentiousness is highlighted. Typical examples of this latter use are Carmen Miranda's tutti frutti hats, low-budget science fiction movies of the 1950s and 1960s and the multi-genre pop culture of the 1970s and 1980s.” [Wikipedia] Outsiders Marlon Riggs • Black Is…Black Ain’t, 1994 • Boys’ Shorts: The New Queer Cinema, 1993 • No Regret, 1992 • Anthem, 1991 • Color Adjustment, 1991 • Tongues Untied, 1991 • Affirmations, 1990 Outsiders Tongues Untied, 1991 • First personal film affirming black, gay identity: double outsider • Shown on PBS in the POV series • Firestorm from the right: film and the series both had small NEA grants • Fullscale attack on the program and PBS from the right: Tongues United Outsiders .
Load more

Recommended publications
  • 819 PR Kit Pages
    Media Contact: Liz Bodet 504-583-5550 [email protected] TABLE OF CONTENTS Broussard’s Family Tree.............................................................................. 1 Cocktails Through the Decades...................................................................... 2 Coffee Menu......................................................................................... 3 Spice Menu.......................................................................................... 4 Rice Menu........................................................................................... 5 Pecan Menu.......................................................................................... 6 Citrus Menu: Reveillon............................................................................... 7 819 RUE CONTI | 504.581.3866 | BROUSSARDS.COM As Broussard’s commemorates 100 years of fine dining, we also celebrate our native foods and traditions that share the same rich history as our grande dame restaurant. Louisiana’s hot, humid summers and short, mild winters allow for a variety of sweet citrus to be grown and then harvested in late fall or early winter, just in time for Reveillon. Chef Jimi Setchim showcases Louisiana citrus with several special menu items on the traditional Reveillon menu. “Walk through any neighborhood in New Orleans and you’ll pass countless citrus trees. Some sprouted up on their own long ago. Some were planted by home gardeners because of how well they grow in Louisiana. All of them are stunning— the rich green leaves,
    [Show full text]
  • "Hello, Dolly!" at Auditorium Theatre, Jan. 27
    AUDITORIUM THEATRE ROCHESTER JANUARY 27 BROAD'lMAY TO FEBRUARY 1 THEATRE LEAGUE 1969 YVONNE DECARLO m HELLO, gOLL~I llng1na1ly D1rected and ChoreogrJphPd by GOWER CHDIPIOII Th1s Pr oductiOn D1rected by LUCIA VICTOR ~tenens FEATURING OUR SATURDAY NITE SPECIAL Prime Rib of Beef Au Jus Baked Potato with Sour Cream & Chives Vegetable - Salad - Coffee $3.95 . ALSO MANY OTHER DELICIOUS ITEMS Stop in for dinner before the show or after the show for a late evening anack SERVING 7 DAYS & NITES FROM 11 A.M. till 2 A.M. 1501 UNIVERSITY AVE . EXTENSION PLENTY OF FlEE PAIICING For Reservations Call: 271-9635 or 271-9494 PARTY AND BANQUET ACCOMMODATIONS Consult Us For Your Banquets And Part i es . • • we w i ll be glad to hove you . Wm. Fisher, Budd Filippo & Ken Gaston proudly present YVONNE DE CARLO in The New York Critics Circle & Tony Award Winn1ng Mus1cal "HELLO, DOLLVI 11 Book IJy Music & Lyrics by MICHAEL STEW ART JERRY HERMAN Based on the originc~l play by Thornton Wilder also starring DON DE LEO with Kathleen Devine George Cavey Rick Grimaldi Suzanne Simon David Gary Althea Rose Edie Pool Norman Fredericks Settings Designed by Lighting Consultant Costumes by Oliver Smith Gerald Richland freddy Wittop Dance & Incidental Music Orchestration by Arrangements by Musical Dirt!cliun by Phillip J. Lang Peter Howard Gil Bowers [)ances Staged for this Production hy Jack Craig Original Choreography & Direction by GOWER CHAMPION This Production Staged by Lucia Victor PHIL'S PANTRYS J A Y ' S "REAL DELICATESSENS" Fresh Sliced Cold Meats D I N E R Home Made Salads & Baked Beans lWO LOCAnONS 2612 W.
    [Show full text]
  • Georges Bataille's Philosophy of Transgression and the Cinema Of
    Is Mark of the Devil an Example of Transgressive Cinema? Georges Bataille’s Philosophy of Transgression and the Cinema of the 1970s Marcus Stiglegger translated by Laura Melchior Abstract collective moment of fear, and raises the Witchploitation films of the late 1960s – like question of whether or not this could generate a Mark of the Devil (1970) – were often criticised ‘transgressive cinema’. And in particular it asks: for exploiting inquisitorial violence such as are witchploitation films transgressive? torture and rape for the sake of pure sensation. While the exploitative manner of dealing with Keywords: witchploitation, censorship, historically based violence is clearly an issue, at sensation, transgression, taboo, philosophy, the same time the question of what effect these Georges Bataille, exploitation film, violence, depictions of extreme violence might have on torture. the audience should be raised. Every culture has its own defined and accepted limits, which are made by collective agreement. Reaching and transgressing these limits amounts to the transgression of an interdiction, of a taboo. This article discusses the representations in the media of the act of transgression – commonly associated with the work of the French philosopher and novelist Georges Bataille – as a 21 The witchploitation films which followed the useful to delineate a theoretical key to success of Michael Reeves’s Witchfinder understanding this phenomenon. After General (1968) were often criticised for explaining the notion of transgression according exploiting inquisitorial violence such as torture to Georges Bataille, I will contextualise the and rape for the sake of pure sensation. In witchploitation films by analysing several Germany Mark of the Devil (Hexen bis aufs Blut movies relating to this concept and finally gequält, Michael Armstrong, 1970) was banned comment on the transgressive nature of till 2016, and in England this film was a well- Witchfinder General and Mark of the Devil.
    [Show full text]
  • Download the Monthly Film & Event Calendar
    THU SAT WED 1:30 Film 1 10 21 3:10 to Yuma. T2 Events & Programs Film & Event Calendar 1:30 Film 10:20 Family Film FRI Gallery Sessions The Armory Party 2018 Beloved Enemy. T2 Tours for Fours. Irresistible Forces, Daily, 11:30 a.m. & 1:30 p.m. Wed, Mar 7, 9:00 p.m.–12:30 a.m. Education & Immovable 30 5:30 Film Museum galleries VIP Access at 8:00 p.m. Research Building Objects: The Films Film Janitzio. T2 of Amir Naderi. New Directors/ Join us for conversations and Celebrate the opening of The 10:20 Family 7:00 Film See moma.org/film New Films 2018. activities that offer insightful and Armory Show and Armory Arts A Closer Look for El Mar La Mar. T1 4:30 Film 1:30 Film 6:05 Event for details. See newdirectors.org unusual ways to engage with art. Week with The Armory Party SUN WED Kids. Education & FRI SAT MON Pueblerina. T2 Music by Luciano VW Sunday Sessions: for details. at MoMA—a benefit event with 7:30 Film Research Building 1:30 Film Limited to 25 participants 4 7 16 Berio and Bruno Hair Wars. MoMA PS1 24 26 live music and DJs, featuring María Calendaria. T2 7:30 Film Kings Go Forth. T2 10:20 Family 7:30 Event 2:00 Film Film Maderna. T1 Film Film platinum-selling artist BØRNS. Flor silvestre. T1 6:30 Film Art Lab: Nature Tours for Fours. Quiet Mornings. Victims of Sin. T2 Irresistible Forces, 4:30 Film Irresistible Forces, Irresistible Forces, 6:30 Film Music by Pink Floyd, Daily.
    [Show full text]
  • The File on Robert Siodmak in Hollywood: 1941-1951
    The File on Robert Siodmak in Hollywood: 1941-1951 by J. Greco ISBN: 1-58112-081-8 DISSERTATION.COM 1999 Copyright © 1999 Joseph Greco All rights reserved. ISBN: 1-58112-081-8 Dissertation.com USA • 1999 www.dissertation.com/library/1120818a.htm TABLE OF CONTENTS INTRODUCTION PRONOUNCED SEE-ODD-MACK ______________________ 4 CHAPTER ONE GETTING YOUR OWN WAY IN HOLLYWOOD __________ 7 CHAPTER TWO I NEVER PROMISE THEM A GOOD PICTURE ...ONLY A BETTER ONE THAN THEY EXPECTED ______ 25 CHRISTMAS HOLIDAY _____________________________ 25 THE SUSPECT _____________________________________ 49 THE STRANGE AFFAIR OF UNCLE HARRY ___________ 59 THE SPIRAL STAIRCASE ___________________________ 74 THE KILLERS _____________________________________ 86 CRY OF THE CITY_________________________________ 100 CRISS CROSS _____________________________________ 116 THE FILE ON THELMA JORDON ___________________ 132 CHAPTER THREE HOLLYWOOD? A SORT OF ANARCHY _______________ 162 AFTERWORD THE FILE ON ROBERT SIODMAK___________________ 179 THE COMPLETE ROBERT SIODMAK FILMOGRAPHY_ 185 BIBLIOGRAPHY __________________________________ 214 iii INTRODUCTION PRONOUNCED SEE-ODD-MACK Making a film is a matter of cooperation. If you look at the final credits, which nobody reads except for insiders, then you are surprised to see how many colleagues you had who took care of all the details. Everyone says, ‘I made the film’ and doesn’t realize that in the case of a success all branches of film making contributed to it. The director, of course, has everything under control. —Robert Siodmak, November 1971 A book on Robert Siodmak needs an introduction. Although he worked ten years in Hollywood, 1941 to 1951, and made 23 movies, many of them widely popular thrillers and crime melo- dramas, which critics today regard as classics of film noir, his name never became etched into the collective consciousness.
    [Show full text]
  • 1§1 Directed by Lyle W
    - 1§1 Directed by Lyle W. Nash THE PLAYERS ... Greta Nissen has been located and lost TO readers are asking about William Janney ... They want again. Film buffs L. Allan Smith and George Smith traced and to know of newsreel collectors or buffs ( especially the silent contacted the elusive petite orwegian star living in Southern era) . .. One reader keeps hoping someone will find a collector California. Recently she was reported living in the Santa Ynez, who knows about lost First National films (silent) . .. Another Calif., area but her whereabouts at the moment are un­ seeks the whereabouts of Davey Lee who was Sonny Boy in the known ... Kid movie actor Dick Winslow still performs his Singing Fool of 1928. Information would be shared for one and one-man-band act in Hollywood night spots ... lsh Kabibble, all. sad-eyed-comic musician with Kay Kyser's band, is now a Honolulu realtor ... Iris Adrian , as full of zest and the love of living as he wa in the early days of sound films, loves to meet IN 1923 John Hampton knew that his career would center her loyal fan . around silent films. He started to show them in Oklahoma. He has been doing that for the last 51 years. For the last 31 years he has been operating his Silent Theatre in Los Angeles. John Historian-writer William E. Julison, Grand Forks, North and his wife, Dorothy, enjoy the rare modern film that is clean, Dakota , completed his 1973 poll on all-time Western film but both have a special fondness for the silent movie.
    [Show full text]
  • DINNERS ENROLL TOM SAWYER.’ at 2:40
    1 11 T 1 Another Film for Film Fans to Suggest Gordon tried out in the drama, "Ch.!« There Is dren of Darkness.” It was thought No ‘Cimarron’ Team. Janet’s Next Role. in Theaters This Week the play would be a failure, so they Photoplays Washington IRENE DUNNE and ^ Wesley Ruggles, of the Nation will * fyJOVIE-GOERS prepared to abandon It. A new man- who as star and director made be asked to suggest the sort of agement took over the property, as- WEEK OP JUNE 12 SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY cinematic history in 1931 In “Cimar- Stopping picture In which little Janet Kay signed Basil Sydney and Mary Ellis "Bit Town Olrl." "Manneouln." "Manneouln." are to be "Naughty Marietta" "Haughty Marietta" "Thank You. Ur. ron," reunited as star and Chapman. 4-year-old star dis- to the leads and Academy "alfm*83ifl£L'‘ Jon Hall in Will Rogers in Will Rosen in and ‘•The Shadow of and "The Shadow of Moto.” and "Ride. recently they scored a Broad- " director of a Paramount to Sth »nd O Sts. B.E, "The Hu-rlcane." "The Hurricane." _"David Harum "David Harum."_Silk Lennox."_ Silk Lennox." Ranter. Ride." picture covered by a Warner scout, should be way hit. This Lad in } into in the Rudy Vailee Rudy Valle? in Rudy Vallee in Myrna Loy. Clark Oa- Myrna Loy. Clark Oa- Loretta Yoon* in go production early fall. next seen on the screen. Miss So It Is at this time of Ambassador •■Sm* "Gold Diggers in "Gold Diggers in "Oold in ble and ble Chap- only yea# DuE*niBin Diggers Spencer Tracy and Spencer Tracy "Four Men and a The announcement was made after man the 18th «nd OolumblA Rd.
    [Show full text]
  • “If Music Be the Food of Love, Play On
    What’s in a Name? As Shakespeare had Juliet say, “That which we call a rose by any other name would smell as sweet.” Maybe so, but in New Orleans there’s more to a name than meets the ear. The Crescent City is home to many sweet-sounding names, especially those of its ladies. What could be more beautiful names than those of Voudou practitioner Marie Laveau or sarong siren Dorothy Lamour? Actually Dorothy was born Mary Leta Dorothy Slaton, but her parents’ marriage lasted only a few years. Her mother re-married a man named Clarence Lambour, and Dorothy took his last name. Lambour became Lamour, a much better choice in that it oozes love (toujours l’amour). She took it along with her on all those “Road” pictures with Bob Hope and Bing Crosby. Dorothy Lamour (1914 – 1996), New Orleans’ own siren in a sarong Inducted into the Rock and Roll Hall of Fame after having recorded over 60 singles for the Imperial label, placing 40 songs in the R&B top 10 charts and 11 top 10 singles on the pop charts, Antoine Dominique “Fats” Domino, Jr. is a New Orleans musical legend with a Creole name to match. It flows from the lips mellifluously like a beignet washed down with café au lait. A sure sign that a name has star potential is the fact that someone has tried, in some way, to usurp its power. In the case of “Fats”, American Bandstand host Dick Clark’s wife Barbara took the name, changed it around ever so slightly and bestowed a new name to an up-and-coming Rock and Roll personality.
    [Show full text]
  • YOU KILLED ME FIRST the Cinema of Transgression Press Release
    YOU KILLED ME FIRST The Cinema of Transgression Press Release February 19 – April 9, 2012 Opening: Saturday, February 18, 2012, 5–10 pm Press Preview: Friday, February 17, 2012, 11 am Karen Finley, Tessa Hughes-Freeland, Richard Kern, Lung Leg, Lydia Lunch, Kembra Pfahler, Casandra Stark, Tommy Turner, David Wojnarowicz, Nick Zedd “Basically, in one sentence, give us the definition of the ‚Cinema of Transgression’.” Nick Zedd: “Fuck you.” In the 1980s a group of filmmakers emerged from the Lower East Side, New York, whose shared aims Nick Zedd later postulated in the Cinema of Transgression manifesto: „We propose … that any film which doesn’t shock isn’t worth looking at. … We propose to go beyond all limits set or prescribed by taste, morality or any other traditional value system shackling the minds of men. … There will be blood, shame, pain and ecstasy, the likes of which no one has yet imagined.“ While the Reagan government mainly focused on counteracting the decline of traditional family values, the filmmakers went on a collision course with the conventions of American society by dealing with life in the Lower East Side defined by criminality, brutality, drugs, AIDS, sex, and excess. Nightmarish scenarios of violence, dramatic states of mind, and perverse sexual abysses – sometimes shot with stolen camera equipment, the low budget films, which were consciously aimed at shock, provocation, and confrontation, bear witness to an extraordinary radicality. The films stridently analyze a reality of social hardship met with sociopolitical indifference. Although all the filmmakers of the Cinema of Transgression shared a belief in a radical form of moral and aesthetic transgression the films themselves emerged from an individual inner necessity; thus following a very personal visual sense and demonstratively subjective readings of various living realities.
    [Show full text]
  • Index to Volume 26 January to December 2016 Compiled by Patricia Coward
    THE INTERNATIONAL FILM MAGAZINE Index to Volume 26 January to December 2016 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND Index 2016_4.indd 1 14/12/2016 17:41 SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 7:25 (magazine) 9:102 7:43; 10:47; 11:41 Orlando 6:112 effect on technological Film review titles are also Agace, Mel 1:15 American Film Institute (AFI) 3:53 Apologies 2:54 Ran 4:7; 6:94-5; 9:111 changes 8:38-43 included and are indicated by age and cinema American Friend, The 8:12 Appropriate Behaviour 1:55 Jacques Rivette 3:38, 39; 4:5, failure to cater for and represent (r) after the reference; growth in older viewers and American Gangster 11:31, 32 Aquarius (2016) 6:7; 7:18, Céline and Julie Go Boating diversity of in 2015 1:55 (b) after reference indicates their preferences 1:16 American Gigolo 4:104 20, 23; 10:13 1:103; 4:8, 56, 57; 5:52, missing older viewers, growth of and A a book review Agostini, Philippe 11:49 American Graffiti 7:53; 11:39 Arabian Nights triptych (2015) films of 1970s 3:94-5, Paris their preferences 1:16 Aguilar, Claire 2:16; 7:7 American Honey 6:7; 7:5, 18; 1:46, 49, 53, 54, 57; 3:5: nous appartient 4:56-7 viewing films in isolation, A Aguirre, Wrath of God 3:9 10:13, 23; 11:66(r) 5:70(r), 71(r); 6:58(r) Eric Rohmer 3:38, 39, 40, pleasure of 4:12; 6:111 Aaaaaaaah! 1:49, 53, 111 Agutter, Jenny 3:7 background
    [Show full text]
  • Patricia Medina Y María Montez. Dos Estrella Coetáneas De Hollywod De
    PATRICIA MEDINA Y MARÍA MONTEZ. DOS ESTRELLAS COETÁNE- AS DE HOLLYWOOD DE ASCENDENCIA CANARIA. ANÁLISIS CONTRASTIVO PATRICIA MEDINA AND MARIA MONTEZ. TWO CONTEMPORARY HOLLYWOOD STARS OF CANARY DESCENT. CONTRASTIVE ANALYSIS Inodelbia Ramos Pérez* y Pedro Nolasco Leal Cruz** Cómo citar este artículo/Citation: Ramos Pérez, I. y Leal Cruz, P. N. (2017). Patricia Medina y María Montez dos estrellas coetáneas de Hollywood de ascendencia canaria. Análisis contrastivo. XXII Coloquio de Historia Canario-Americana (2016), XXII-064. http://coloquioscanariasmerica.casadecolon.com/index.php/aea/article/view/10007 Resumen: Patricia Medina y María Montez son dos estrellas de Hollywood de ascendencia canaria, el padre de la primera nació en Las Palmas de Gran Canaria, el de la segunda en Garafía (La Palma). Las dos artistas tuvieron una vida paralela y carreras exitosas. Ambas se casaron con actores muy conocidos del cine del siglo pasado. Nuestro objetivo es hacer un estudio y contraste de estas dos famosas actrices. Palabras clave: Patricia Medina, María Móntez, cine, Gran Canaria, La Palma, Hollywood, Siglo XX Abstract: Patricia Medina and Maria Montez are two Hollywood stars of Canary descent. The father of the former was born in Las Palmas de Gran Canaria and the father of the latter was born in Garafia (La Palma). Both artists had a parallel life and enjoyed successful careers, both stars had well-known husbands in the world of stardom of the twentieth Century. Our aim is to make a study and contrast between them. Keywords: Patricia Medina, Maria Montez, cinema, Gran Canaria, La Palma, Hollywood, XXth Century INTRODUCCIÓN Canarias tiene el orgullo y privilegio de contar con dos artistas de nivel internacional, hijas de padres canarios.
    [Show full text]
  • American Independent Cinema 1St Edition Pdf, Epub, Ebook
    AMERICAN INDEPENDENT CINEMA 1ST EDITION PDF, EPUB, EBOOK Geoff King | 9780253218261 | | | | | American Independent Cinema 1st edition PDF Book About this product. Hollywood was producing these three different classes of feature films by means of three different types of producers. The Suburbs. Skip to main content. Further information: Sundance Institute. In , the same year that United Artists, bought out by MGM, ceased to exist as a venue for independent filmmakers, Sterling Van Wagenen left the film festival to help found the Sundance Institute with Robert Redford. While the kinds of films produced by Poverty Row studios only grew in popularity, they would eventually become increasingly available both from major production companies and from independent producers who no longer needed to rely on a studio's ability to package and release their work. Yannis Tzioumakis. Seeing Lynch as a fellow studio convert, George Lucas , a fan of Eraserhead and now the darling of the studios, offered Lynch the opportunity to direct his next Star Wars sequel, Return of the Jedi Rick marked it as to-read Jan 05, This change would further widen the divide between commercial and non-commercial films. Thanks for telling us about the problem. Until his so-called "retirement" as a director in he continued to produce films even after this date he would produce up to seven movies a year, matching and often exceeding the five-per-year schedule that the executives at United Artists had once thought impossible. Very few of these filmmakers ever independently financed or independently released a film of their own, or ever worked on an independently financed production during the height of the generation's influence.
    [Show full text]