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NEW QUEER CINEMA and the BIOPIC by Laura Stamm BA

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NEW QUEER CINEMA and the BIOPIC by Laura Stamm BA SUSTAINING LIFE DURING THE AIDS CRISIS: NEW QUEER CINEMA AND THE BIOPIC by Laura Stamm B.A., Grinnell College, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2018 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Laura Stamm It was defended on March 26, 2018 and approved by Lucy Fischer, Distinguished Professor, Department of English Randall Halle, Klaus W. Jonas Professor, Department of German Marcia Landy, Distinguished Professor Emerita, Department of English Dissertation Advisor: Mark Lynn Anderson, Associate Professor, Department of English ii Copyright © by Laura Stamm 2018 iii SUSTAINING LIFE DURING THE AIDS CRISIS: NEW QUEER CINEMA AND THE BIOPIC Laura Stamm, PhD University of Pittsburgh, 2018 This dissertation examines the discourses of health, crisis, and personal narrative that coalesced during the AIDS crisis of the 1980s and 1990s, and that shaped the responses of queer artists and activists to the pandemic. More specifically, the sexual politics and biopolitical discourses of that moment explain why queer filmmakers would turn to such a conservative film genre as the biopic as viable terrain. Because film scholars have almost uniformly positioned the biopic as a genre reinscribing Western subject formation, it makes sense that critics like B. Ruby Rich might fail to apprehend queer filmmakers’ biographical films as biopics. Since the biopic has such an enduring history from the early studio era to the present, including queer biographical films as part of the genre precludes the separation of queer filmmakers from dominant film history and cinematic conventions established during studio era Hollywood. The cost of this quarantine is a history in which queer films existed and continue to exist independently from a long line of films that inscribe personhood and personal history. However, the biopic’s interest in recording personal histories made it a particularly salient choice for queer filmmakers during the AIDS crisis when they sought to tell stories of damaged lives lost and lived. Chapter One explores how queer filmmakers John Greyson, Todd Haynes, and Bruce LaBruce responded to the AIDS crisis as precisely a crisis of queer visibility. The case studies of Tom Kalin’s Swoon (1992) and Savage Grace (2007) guide the next chapter’s return to cinema’s biomedical history, as well as psychoanalytic models of suturing, to excavate queer filmmakers’ disruption of normative models of spectatorship. Chapter Three reads Matthew Mishory’s iv Delphinium (2009) as a new point of entry into Derek Jarman’s cinema in order to understand both filmmakers as part of a queer genealogy. The fourth chapter investigates Elisabeth Subrin’s and Barbara Hammer’s creation and use of queer archives to tell the stories of feminisms—via particular feminists—past. The final chapter discusses the queer biopic’s relationship to People With AIDS (PWA) photography, looking finally to contemporary media practices to reflect upon the current AIDS media landscape. v TABLE OF CONTENTS ACKNOWLEDGEMENTS ........................................................................................................ X PREFACE .................................................................................................................................... XI 1.0 THE DESIRE TO SEE AND BE SEEN: NEW QUEER CINEMA’S RESPONSE TO A PUBLIC HEALTH CRISIS .............................................................................................. 1 1.1 DESIRING IMAGES: FILM FESTIVAL CULTURE IN THE AIDS CRISIS.................................................................................................................................... 5 1.2 QUEER PUBLICS, COMMUNITY FORMATION ...................................... 10 1.3 NEW QUEER CINEMA AND RADICAL FORM: BRUCE LABRUCE’S RE-PRESENTATION OF “THE HOMOSEXUAL” ..................................................... 13 1.4 SUPERSTAR: PUBLIC MOURNING AND IMAGINATIVE COMMUNITY FORMATIONS ....................................................................................... 20 1.5 ZERO PATIENCE: QUEER BODIES UNDER THE MICROSCOPE ........ 32 1.6 OPTICAL TRANSFORMATION IN ZERO PATIENCE ............................. 36 1.7 IMAGINATIVE COMMUNITIES: ALTERITY, AIDS, AND VISIONS FOR A QUEER FUTURE ................................................................................................. 44 2.0 MAPPING AND MOVING THE CONTOURS OF THE BODY: PROXIMAL RELATIONS IN THE CINEMA OF TOM KALIN ............................................................... 50 2.1 DISECTING CRIMINALTIY: 1920S VISUAL CULTURE IN SWOON.... 55 vi 2.2 SCREENING LIFE: THE CINÉMATOGRAPHE’S BIOMEDICAL HISTORY ............................................................................................................................ 62 2.3 LIFE OUTSIDE OF THE LABORATORY ................................................... 67 2.4 RETHINKING TAXONOMY: SWOON’S RADICAL RESTRUCTURING OF VISION........................................................................................................ 73 2.5 COMING UNSTITCHED: BEYOND REPARATION ................................. 78 2.6 CLOSE ENOUGH TO TOUCH: QUEERING APPARATUS THEORY ... 83 2.7 THE SHATTERED SUBJECT: TOWARD AN AESTHETICS OF IMPERSONALITY ............................................................................................................ 91 2.8 SUSTAINING LIFE .......................................................................................... 98 3.0 SUSPENDED IN HISTORY: RETHINKING DEREK JARMAN’S LEGACY 101 3.1 NEW QUEER CINEMA AND HISTORY .................................................... 105 3.2 RE-PAINTING QUEER HISTORY: DELPHINIUM’S LIFE OF YOUNG DEREK JARMAN ............................................................................................................ 110 3.3 CARAVAGGIO: PAINTING LIFE ................................................................ 119 3.4 JARMAN’S PORTRAITS OF QUEER HISTORY ..................................... 128 3.5 EDWARD II’S QUEER REBIRTH ................................................................ 134 3.6 JARMAN AND RUSSELL’S COLLABORATION..................................... 139 3.7 INHERITED SENSIBLITY AND INTERGENERATIONAL CONVERSATION ........................................................................................................... 142 4.0 THE PERSONAL IS ARCHIVAL: BARBARA HAMMER AND ELISABETH SUBRIN MINE FEMINIST HISTORY ................................................................................. 145 4.1 DEALING WITH LESBIAN ABSENCE ...................................................... 153 vii 4.2 WHO COUNTS AS “QUEER”? .................................................................... 157 4.3 LOCATING LESBIAN GHOSTS: BARBARA HAMMER’S STRATEGIES OF ESSENTIALISM AND POLITICS OF NAMING ................................................. 162 4.4 WELCOME TO THIS HOUSE AND THE QUESTION OF DOCUMENTARY ............................................................................................................ 168 4.5 MAYA DEREN’S SINK: SWIRLING AROUND THE DRAIN OF FEMINIST HISTORY ..................................................................................................... 174 4.6 ELISABETH SUBRIN’S FEMINIST TRANSPOSITIONS ....................... 181 4.7 LEAVING BEHIND A FEMINIST-QUEER LEGACY.............................. 187 4.8 SEARCHING FOR TRUTH: SUBRIN’S INVESTIGATION INTO THE CENSORED PAST ........................................................................................................... 191 4.9 THE FANCY’S CREATION OF A TRUTHFUL ARCHIVE ..................... 196 5.0 LOOKING THROUGH INFECTED EYES: LIVING WITH AIDS IN THE QUEER PRESENT ................................................................................................................... 204 5.1 WHO GETS TO REPRESENT INFECTED BODIES? .............................. 208 5.2 NAN GOLDIN’S QUEER WORLD .............................................................. 213 5.3 KIA LABEIJA’S BODY IN CRISIS: INVOKING QUEER HISTORY VIA SELF-INSCRIPTION ...................................................................................................... 217 5.4 LABEIJA’S PORTRAITS OF SELF-HISTORY ......................................... 221 5.5 CREATING A FACE OF AIDS ..................................................................... 226 5.6 QUEER BODY ARCHIVES: BUILDING A NEW CONSCIOUSNESS ... 229 5.7 EPIDEMIOLOGICAL APPROACHES TO QUEER POLITICS ............. 233 viii CODA. WHERE DO QUEERS FIND THEIR ROLE MODELS: QUEER IDENTIFICATION, GENRE, AND BUILDING A SELF ................................................... 240 BIBLIOGRAPHY ..................................................................................................................... 246 FILMOGRAPHY ...................................................................................................................... 258 ix ACKNOWLEDGEMENTS So much goes in to the process of writing a dissertation that acknowledging all of the forms of support and inspiration I received seems like an utter impossibility. But to begin, I want to acknowledge the members of my committee: Mark Lynn Anderson, Lucy Fischer, Randall Halle, and Marcia Landy. You were all a part of this work before I reached the dissertation process, whether it took the form of a graduate seminar or casual conversation about
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