DOCSLIB.ORG

IFI Stranger Than Fiction Documentary Film Festival 15Th-18Th April 2010 2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
IFI Stranger Than Fiction Documentary Film Festival 15Th-18Th April 2010 2 IFI Stranger Than Fiction Documentary Film Festival 15th-18th April 2010 Thursday 15th April 18.30 Opening Film: Pyjama Girls + Q&A Welcome to the 9th IFI Darling; plus Matt Harlock of free events and talks on Stranger Than Fiction fi lm and Paul Thomas’ brilliantly Friday 16th April (see page 14). festival – four days of innovative American: The Bill documentaries that promise to Hicks Story, sure to be one of Irish fi lmmaking is well Friday 16th April See page 14 for details on a day of free events entertain, inform and inspire. the hits of the festival. represented with six fi lms 12.00 The Sun Behind the Clouds Schedule screening in the festival 12.15 Space Tourists Introduction No matter your taste, you’ll Those looking for docs with including Colin Stafford- 13.45 Sins of my Father have plenty to choose from a comedic bent could do far Johnson’s quest to fi nd with twenty-two docs, short worse than checking out the the truth behind the 14.15 Videocracy fi lms, special presentations of excellent documentary The disappearance of a tiger, 15.30 Last Train Home archive titles and numerous Topp Twins, an incredibly Broken Tail, and Liz Mermin’s 16.00 Jimmy Murakami: Non Alien + Q&A events. The festival’s offerings funny and touching tribute Horses, a unique, hugely 17.00 Gilbert O’Sullivan – Out On His Own + Q&A range from intimate, deeply to New Zealand’s only imaginative take on the world 18.45 Downtown Calling + Q&A personal fi lms such as Chico twin-lesbian-yodelling- of horse racing. We’ll also be Colvard’s remarkable Family comedy-duo, and Winnebago kicking off the festival with a 20.30 American: The Bill Hicks Story + Q&A Affair, receiving its European Man, a hysterical look at viral fi lm made very close to home, premiere at IFI Stranger Than video victim Jack Rebney. Two director Maya Derrington’s Fiction, to fi lms which are fi lms guaranteed to have you Pyjama Girls, a captivating Saturday 17th April 12.00 Archive Programme 1 slightly more epic in scope leaving the cinema with a view of teenage life in Dublin. such as Oliver Stone’s smile on your face. We’re thrilled to be able to 12.30 Pyjama Girls examination of South open the festival with the 14.15 Good Hair American politics, South of the A fi lm festival is not a festival fi lm’s world premiere. 14.30 Broken Tail + Q&A Border, or José Padilha’s unless it offers up the chance 16.00 Family Aff air + Q&A excellent Secrets of the Tribe. to engage with the fi lmmakers, I hope this glimpse into the 16.30 Winnebago Man and a number of guests will festival’s programme has Biographical fi lmmaking is be on hand to discuss their encouraged you to explore 18.30 Beautiful Darling + Q&A present in the form of Jimmy work, be it as part of a further – there are so many 20.30 Strange Powers + Q&A Murakami: Non Alien, an Irish post-screening Q&A, a panel other treats in store. production that looks at the discussion or an informal chat life of the Oscar-nominated over a drink in the IFI Café Bar. Niall Macpherson animator; Beautiful Darling, And if you’re looking to delve a IFI Stranger Than Fiction Sunday 18th April 12.15 Short Film Programme James Rasin’s affectionate little deeper into the world of programmer 12.15 Archive Programme 2 celebration of the life of Candy documentary, we’ll have a day 13.30 Secrets of the Tribe 14.15 A Prayer for the Wind Horse + Q&A 15.15 La danse IFI Principal Funder 16.00 South of the Border 18.00 Horses + Q&A 20.30 The Topp Twins IFI Stranger Than Fiction Partners Tickets cost €9, except for the Tickets are available from Membership is required for all opening fi lm which includes a IFI, 6 Eustace Street, fi lms. Daily membership costs post-screening reception and Temple Bar, €1 and annual membership costs €15. There are special Dublin 2 just €25. Annual membership package prices of €40 for 5 or from the Box Offi ce entitles the bearer to discounts fi lms and €70 for 10 fi lms, on 01 679 3477 on screenings, free preview Booking but each ticket purchased or online at www.ifi .ie screenings of selected fi lms must be for a different fi lm throughout the year, one Information and the package excludes the We’d love to hear about your complimentary ticket and a Director Christian Frei opening fi lm. experiences at the IFI, so host of other benefi ts. please email any comments to feedback@irishfi lm.ie See www.ifi .ie or call 01 679 5744 for further Space Tourists information. Cover: 2 IFI Stranger Than Fiction 2010 www.ifi .ie 3 OPENING INTERNATIONAL FILM FILMS rom the Paris Opera Ballet to the Brazilian rainforest, from a Texan comedy club to the Pyjama steppes of Kazakhstan, and from the railways of China to the streets of New York, this truly F international line-up of sixteen fi lms from ten Girls countries tells stories which span the globe. Addressing Thursday 15th April, 18.30 topics as wide-ranging as politics, crime, music, club culture, Saturday 17th April, 12.30 WORLD PREMIERE media, anthropology, fashion and Buddhism, they’re as Director: Maya Derrington • Ireland diverse in subject matter as they are in nationality. 2010 • c80 mins Pyjama Girls follows the lives of a group of girls who wear, you guessed it, pyjamas, all The Sun Behind the Clouds: day, every day. Focusing principally on Tibet’s Struggle for Freedom teenagers Lauren and Tara, the fi lm examines the intense micro-dramas and emotional complexities of their lives in the close-knit March 2008 saw the biggest Tibetan uprising since China took community of Dublin’s inner city fl ats. In the control of the country in 1959. As a show of solidarity, many exiled noisy, tumultuous world of the fl ats, it’s the Tibetans marched on their homeland, determined to support boys who make themselves heard. their countrymen. It was a year of dramatic possibilities for the Meanwhile, the girls express themselves country. For more than 20 years, the Dalai Lama, Tibet’s spiritual through the visual language of young women and political leader, has pursued his Middle Way Approach: – clothes and fashion. Their dress sense is giving up the goal of Tibet’s independence in return for genuine read as a badge of social standing, yet while autonomy. But China has consistently rejected his proposal. Now, wearing pyjamas during the day links them more and more Tibetans are questioning his strategy. In this together, in the fi lm, it is this trend that Friday 16th April, 12.00 superb documentary, with unprecedented access to the Dalai provides a visual springboard from which we IRISH PREMIERE Lama, fi lmmakers Ritu Sarin and Tenzing Sonam ask if his path of gain insight into their individual lives. Maya Directors: Ritu Sarin & Tenzing Sonam peace and compromise will fi nd a solution for Tibet. Or will the Derrington’s touching documentary excels in India/UK • 2009 • 79 mins voices calling for independence prevail? presenting an honest, intimate view of teenage life in Dublin. We’re thrilled to open this year’s IFI Stranger Than Fiction festival with the fi lm’s world premiere. Space Tourists Q&A with director Maya Derrington, Christian Frei’s fi lm delves into the phenomenon of space producer Nicky Gogan and Pyjama Girls. tourism where billionaires pay huge sums of money to become astronauts as part of the Russian space programme. Anousheh Ansari dreamt of going into outer space since childhood. A number of years and $20 million later, she realised her dream – Ansari became the fi rst female space tourist. Featuring stunning scenes, the fi lm documents her preparations and accompanies her on her day-to-day existence aboard the International Space Station. The magnifi cent beauty of space is contrasted with Kazakhstan’s almost post-apocalyptic terrain, where disused rockets and space shuttles, the remnants of the Soviet space Friday 16th April, 12.15 programme, litter the landscape. Humorous and always utterly IRISH PREMIERE fascinating, Space Tourists won Frei a best director prize at this Director: Christian Frei year’s Sundance Film Festival. Switzerland • 2009 • 98 mins 4 IFI Stranger Than Fiction 2010 www.ifi .ie 5 Sins of my Father Downtown Calling Nicolas Entel’s Sins of my Father is an extraordinary examination In the late 1970s New York City was teetering on the edge of total of the life of Pablo Escobar as seen through the eyes of his only chaos. A failed economy, crime and en masse housing corruption son, Sebastian Marroquin. Escobar was the most notorious drug gave way to a city in crisis. Yet, as is often the case, out of the lord in Colombian history, whose reign of terror and violence economic and social strife that held the city hostage, a family of killed hundreds of people from all walks of life. In agreeing to homegrown cultures that would forever change the world began appear in this fi lm, he and his mother, Maria Victoria, break more to emerge and thrive. Narrated by Debbie Harry, and featuring than a decade of silence after living in virtual exile in Argentina. contributions from Mos Def, Chris Stein, TV on the Radio and Fab It is the fi rst time either has spoken about Escobar since he was 5 Freddy, to name a few, Downtown Calling not only documents, gunned down in 1993.
Load more

Recommended publications
  • Reinblättern (Pdf)
    Philipp Meinert Von den Sechzigern bis in die Gegenwart Philipp Meinert, 1983 ausgerechnet in Gladbeck geboren, erlebte im Ruhrgebiet eine solide Punksozialisation. Inhalt Studium der Sozialwissenschaften in Bochum. Seit 2010 neben seiner Lohnarbeit regelmäßiger Schreiber und Interviewer für verschiedene Online- und Print- medien, hauptsächlich für das »Plastic Bomb Fanzine«. Über dieses Buch und Einleitung ...................................... 9 2013 gemeinsam mit Martin Seeliger Herausgeber des Sammelbandes »Punk in Deutschland. Sozial- und kultur- »A walk on the wild side« 15 wissenschaftliche Per spektiven«. Lebt in Berlin. Die ziemlich queere Welt des Prä-Punks in New York ................... Lou Reed: Der bisexuelle Pate des Punk .................................. 17 Glam: Glitzernde Vorzeichen des Punk .................................. 25 »Personality Crisis« Die New York Dolls als Bindeglied 30 zwischen Punk und Glam ............................................. »Hey little Girl! I wanna be your boyfriend.« Mit den Ramones 35 wird es heterosexueller................................................ »Immer der coolste Typ im Raum« - Interview Danny Fields ............... 38 »Man Enough To Be a Woman« – Jayne County, die transsexuelle 44 Punkgeburtshelferin ................................................... Punk-Genese in England .............................................. 57 Die englische Punkrevolution als kreative Befreiung von Frauen ............. 67 Interview mit Bertie Marshall .........................................
    [Show full text]
  • Jayne County Paranoia Paradise Curated by Michael Fox February 4 – March 11, 2018 Opening Reception, Sunday, February 4, 7-9Pm
    For Immediate Release contact [email protected], 646-492-4076 Jayne County Paranoia Paradise Curated by Michael Fox February 4 – March 11, 2018 Opening Reception, Sunday, February 4, 7-9pm I think that my art serves as a way of putting out the fuse before it becomes a ballistic bomb of some sort. Some people are at odds with the world and they become serial killers, and others become artists. –Jayne County From February 4 – March 11, 2018, PARTICIPANT INC is honored to present Jayne County, Paranoia Paradise, the first retrospective exhibition of County’s visual artwork, curated by Michael Fox. Although County’s artistic output began in experimental theater in the late 1960s-early ‘70s, including work with Theater of the Ridiculous and in Andy Warhol’s Pork, she is perhaps most well-known as a rock singer and performer. This exhibition takes its title from one of County’s songs, Paranoia Paradise, which she famously performed as the character of “Lounge Lizard” in Derek Jarman’s 1978 film, Jubilee. Selections of her earliest known paintings and works on paper made in the early ‘80s while living in Berlin will be exhibited alongside works made up until the present, with approximately eighty pieces on view from County’s studio as well as several private collections. A presentation of related ephemeral materials from County’s archive, as well as photographs by Bob Gruen, Leee Black Childers, and Michael Fox will accompany the exhibition and further illuminate her legendary contributions to music, film, performance, as well her role as forebear and gender pioneer as the first openly transgender rock performer.
    [Show full text]
  • CLOSE VIEW 2 – Punk Rock 25 Years Old Manuscript: Keith Foster Producer: Keith Foster Broadcasting Date: 9/10, 2002 Length: 15’
    Over to you 2002/2003 Close View 2 – Special Report Programnr: 02060/ra2 CLOSE VIEW 2 – Punk Rock 25 Years Old Manuscript: Keith Foster Producer: Keith Foster Broadcasting date: 9/10, 2002 Length: 15’ Music: Sex Pistols ”God Save the Queen” Keith Foster: Welcome to Close View! I’m Keith Foster. Ex-punk. This year in England the Queen has celebrated her golden jubilee – that’s fifty years on the throne… 25 years ago, in 1977, it was her Silver Jubilee, and people then had parties in the streets to celebrate. Then along came this band, the Sex Pistols, and spoilt the party. The song called the Queen a moron, and it made the Sex Pistols the most hated band in Britain - ever. Newspapers called for them to be put in prison, and in the end their record company sacked them. Twice. Suddenly, punk rock had made its mark. If you liked punk you liked loud music, an dance called the pogo, which meant just jumping up and down really, often on the person in front of you, and you put safety pins through your clothes, your ears, your nose, your cheeks, your…...well, anywhere. And you were angry. Very angry. Music mix: “Stranglehold” by UK Subs Oh Bondage Up Yours” by X-ray Spex “Anarchy in the UK” by Sex Pistols “Too drunk to fuck” by Dead Kennedys KF: You didn’t have to be very musical… Punk rock exploded in Britain in 1977. If you were a teenager almost everyone you knew picked up a guitar or a drum set and started to make a lot of noise.
    [Show full text]
  • PDF Version of Sara Cook's
    Sara Cook’s Bio Sara Cook is an artist who creates in many mediums including pioneering 2D into 3D, photography, web design, computer graphics, film editing, dance, choreography, music, etc.. Sara is a technology pioneer in the field of digital imaging. A second generation native New Yorker from NYC with a history of artistic endeavors involving The Village, Chelsea, Gramercy Park, & other areas in Manhattan. A visual artist who specializes in the art of 3D & animating lenticular, full color & grayscale anaglyph, stereo photography & other imaging with Robert Munn. She continues to create new art, perform & show new artwork. 3D projects she helped create with Depthography are seen internationally. Sara Cook was featured with Robert Munn & Gary Darrow in the “Tech Watch” section of Computer Graphics World in 1994. This article talked about some of the advancements in technology that Depthography were responsible for at that time. A few other technical advancements include: Sara Cook was involved in the innovation of lenticular & anaglyph 2D into 3D & 4D graphics based on Robert Munn’s technical concepts & her techniques & methodology together as part of the Depthography team. Sara Cook, as part of Depthography’s team, took part in the world’s first 2D into 3D lenticular conversions in the early 1990’s before all other attempts to develop similar techniques. Within 6 weeks of delivering their first project utilizing 2D into 3D (and 2D into 4D) methods, Sara devised her own unique 3D pioneering formulas & methods that did not involve any 3D modeling software. All of these achievements were based on Munn’s 3D technical concepts & as a part of Depthography’s team.
    [Show full text]
  • The Snow Miser Song 6Ix Toys - Tomorrow's Children (Feat
    (Sandy) Alex G - Brite Boy 1910 Fruitgum Company - Indian Giver 2 Live Jews - Shake Your Tuchas 45 Grave - The Snow Miser Song 6ix Toys - Tomorrow's Children (feat. MC Kwasi) 99 Posse;Alborosie;Mama Marjas - Curre curre guagliò still running A Brief View of the Hudson - Wisconsin Window Smasher A Certain Ratio - Lucinda A Place To Bury Strangers - Straight A Tribe Called Quest - After Hours Édith Piaf - Paris Ab-Soul;Danny Brown;Jhene Aiko - Terrorist Threats (feat. Danny Brown & Jhene Aiko) Abbey Lincoln - Lonely House - Remastered Abbey Lincoln - Mr. Tambourine Man Abner Jay - Woke Up This Morning ACID MOTHERS TEMPLE - Are We Experimental? Adolescents - Democracy Adrian Sherwood - No Dog Jazz Afro Latin Vintage Orchestra - Ayodegi Afrob;Telly Tellz;Asmarina Abraha - 808 Walza Afroman - I Wish You Would Roll A New Blunt Afternoons in Stereo - Kalakuta Republik Afu-Ra - Whirlwind Thru Cities Against Me! - Transgender Dysphoria Blues Aim;Qnc - The Force Al Jarreau - Boogie Down Alabama Shakes - Joe - Live From Austin City Limits Albert King - Laundromat Blues Alberta Cross - Old Man Chicago Alex Chilton - Boplexity Alex Chilton;Ben Vaughn;Alan Vega - Fat City Alexia;Aquilani A. - Uh La La La AlgoRythmik - Everybody Gets Funky Alice Russell - Humankind All Good Funk Alliance - In the Rain Allen Toussaint - Yes We Can Can Alvin Cash;The Registers - Doin' the Ali Shuffle Amadou & Mariam - Mon amour, ma chérie Ananda Shankar - Jumpin' Jack Flash Andrew Gold - Thank You For Being A Friend Andrew McMahon in the Wilderness - Brooklyn, You're
    [Show full text]
  • New York City's Societal Influence on the Punk
    Department of Humanities, Northumbria University Honours Dissertation New York City’s Societal Influence on the Punk Movement, 1975-1979 Gavin Keen BA Hons History 2016 This dissertation has been made available on condition that anyone who consults it recognises that its copyright rests with its author and that quotation from the thesis and/or the use of information derived from it must be acknowledged. © Gavin Keen A dissertation submitted in partial fulfilment of the requirements for the degree of BA (Hons) History !1 Contents Introduction: ‘Fear City’ and the Creation of a Scene 3 Chapter 1: ‘Trying to turn a trick’:The NYC Sex Industry and its Influence on Punk 8 Chapter 2: ‘All I see is little dots’: The NYC Drug Industry and its Influence on Punk 15 Chapter 3: ‘Yuck! She’s too much’: Gender and Sexuality in NYC and Punk 22 Conclusion: ‘New York City Really Has It All’: Punk as a Social Commentary 33 Appendices 37 Bibliography 43 !2 Introduction ‘Fear City’ and the Creation of a Scene New York’s economic situation in the mid 1970s saw unprecedented levels of austerity imposed upon the city and, as a result, contributed to the creation of what the historian Dominic Sandbrook described as ‘a terrifying urban Hades’.1 Swathes of New Yorkers were riled by the closure of libraries, hospitals and fire stations and had their anger compounded by subway fare hikes, the abolition of free public college education and severe cuts to public service employment; a total of sixty three thousand public servants, ranging from teachers to police officers, were put out of work.2 The drastic economic measures implemented by Mayor Abraham Beame as part of the conditions of New York’s federal financial bail out contributed significantly to a rise in crime and societal dysfunction across the city.
    [Show full text]
  • The Sacred Triangle: Bowie, Iggy & Lou 1971 Œ 1973 (DVD
    The Sacred Triangle: Bowie, Iggy & Lou 1971 – 1973 (DVD) - Philadelph... http://www.examiner.com/punk-music-in-philadelphia/the-sacred-triangl... Print Close [x] The Sacred Triangle: Bowie, Iggy & Lou 1971 – 1973 (DVD) December 2nd, 2010 10:25 am ET By John Moore , Philadelphia Punk Music Examiner David Bowie, Iggy pop, Lou Reed Photo: MVD Video Sacred Triangle: Bowie, Iggy & Lou 1971 – 1973 (DVD) Hard to believe, but 1971 was not a good year for Lou Reed, Iggy Pop and David Bowie, three of the most influential rockers to come out of that decade. The recently-released doc Sacred Triangle does a decent job of telling the story of how the trio of rockers nearly fizzled out at the beginning of the decade and how they managed to collaborate in various forms leading to great (and for Bowie, massive) success for all. In 1971/early 1972, Reed released a debut that was not exactly well-received and Pop was well on his way to helping create what would eventually become known as punk, but at the time it was just scaring the hell out of critics and the music-buying public. Bowie, meanwhile, was cramming psychedelic folk and glam into a mix that led to a couple of hits, but he was still skirting around the edges of “novelty hit has been” status thanks to “Space Oddity” and “The Man Who Sold the World”. Told through interviews by those close to the rockers at the time (Bowie’s ex-wife Angie, Jayne County and Andy Warhol’s Factory assistant Billy Name, among others) and fantastic old film footage, Sacred Triangle manages to capture the evolution of three of rocks most enduring players.
    [Show full text]
  • On the 20Th Annual Chicago Underground Film Festival
    Free One+One Filmmakers Journal Issue 12: Trash, Exploitation and Cult Volume 2 Contents Where volume one focused on Exploitation cinema and the appropriation of its tropes in commercial and art cinema, this volume changes tact, exploring themes of film exhibition and the Carnivalesque. 04 39 The first two articles are dedicated to the former theme. In these articles James Riley White Walls and Empty Rooms: From Cult to Cabaret: and Amelia Ishmael explore the exhibition of underground cinema. From the film festi- A Short History of the Fleapit An Interview with Mink Stole val to the ad hoc DIY screening, these articles adventure into the sometimes forebod- James Riley Bradley Tuck and Melanie Mulholland ing landscape of film screenings. The following articles explore the topic of the carni- valesque, both as an expression of working class culture and queer excess. Frances Hatherley opens up this theme with an article on the TV show Shameless exploring the 12 Tyrell48 & Back demonisation of the working classes in Britain and mode of politicisation and defiance The Chicago Underground Film Festival Amelia Ishmael Susan Tyrell Obituary embedded in the TV show itself. Through Frances’ article, we discover in Shameless, Melanie Mulhullond not the somber working class of Mike Leigh or Ken Loach, but the trailer trash of John Waters. Appropriately, therefore, this articles is swiftly followed by a discussion between 24 James Marcus Tucker and Juliet Jacques on Rosa von Praunheim’s City of Lost Souls; Defensive Pleasures: Gerontophila51 a film that wallows in the carnivalesque decadence of queer life. City of Lost Souls is a Class, Carnivalesque and Shameless Bruce LaBruce film that springs from a tradition of queer cinema with obvious parallels with the works Frances Hatherley of Paul Morrissey, Jack Smith, George and Mike Kuchar and John Waters.
    [Show full text]
  • 1 Ervin Jarek 2017 PHD.Pdf
    ii © Copyright by Jarek Paul Ervin All Rights Reserved May 2017 iii ABSTRACT My dissertation takes a speculative cue from the reception of 1970s New York punk, which is typically treated as both rule – the symbolic site of origin – and exception – a protean moment before the crystallization of punk proper. For this reason, artists such as Velvet Underground, Patti Smith, the Ramones, and Blondie are today afforded the simultaneous status of originators, interlopers, innovators, and successors. This has led both to the genre’s canonicity in the music world and its general neglect within scholarship. I argue that punk ought to be understood less as a set of stylistic precepts (ones that could be originated and then developed), than as a set of philosophical claims about the character of rock music in the 1970s. Punk artists such as Patti Smith, Jayne County, and the Ramones developed an aesthetic theory through sound. This was an act of accounting, which foregrounded the role of historical memory and recast a mode of reflexive imagination as musical practice. At times mournful, at times optimistic about the possibility of reconciliation, punk was a restorative aesthetics, an attempt to forge a new path on memories of rock’s past. My first chapter looks at the relationship between early punk and rock music, its ostensible music parent. Through close readings of writing by important punk critics including Greil Marcus, Lester Bangs, and Ellen Willis – as well as analyses of songs by the Velvet Underground and Suicide – I argue that a historical materialist approach offers a new in-road to old debates about punk’s progressive/regressive musical character.
    [Show full text]
  • Popular Music and Gays, Lesbians, Bisexuals, and Transgender People: an Annotated Bibliography and Discography
    Page 1 of 35 Popular Music and Gays, Lesbians, Bisexuals, and Transgender People: An Annotated Bibliography and Discography. Compiled by Walt “Cat” Walker. Approved by the GLBTRT Resources Committee. Last revised January 12, 2017. TABLE OF CONTENTS Introduction 2 I. General Nonfiction 3 II. Memoirs & Biographies 9 III. Fiction 32 IV. Drama 33 V. Children & Teens 34 VI. DVDs 35 Page 2 of 35 Introduction Gays, lesbians, bisexuals, and transgender people have always participated in creating popular music. In recent years, the visibility of LGBTQ people in the music world has increased, and more popular music has been created that openly describes the LGBTQ experience. There has also been an increase in books and films related to LGBTQ visibility in popular music, both in fiction and nonfiction. This bibliography includes resources about gay men, lesbians, bisexuals, and transgender persons involved in the popular music field. The books have all been published in print, and many of them may also be found as e-books. Separate sections contain memoirs, novels, plays, and children’s and teen books. Several LGBT popular music-related DVDs are also listed. Each book and DVD has a link to the OCLC WorldCat record (when available) where you can see which libraries hold the item. Most of this resource is comprised of a discography of popular music recordings by LGBTQ artists. It is not meant to be complete, but many recordings still available in CD format for each artist are listed, and several are annotated. Many of these performers’ songs can now also be found on streaming music services and online digital music websites.
    [Show full text]
  • Androgyny and Musical Identity: Glitz, Glamour, and Everything in Between Tanya Yvette Flores University of Texas at El Paso, [email protected]
    University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2012-01-01 Androgyny and Musical Identity: Glitz, Glamour, and Everything in Between Tanya Yvette Flores University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the Mass Communication Commons, and the Music Commons Recommended Citation Flores, Tanya Yvette, "Androgyny and Musical Identity: Glitz, Glamour, and Everything in Between" (2012). Open Access Theses & Dissertations. 2086. https://digitalcommons.utep.edu/open_etd/2086 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. ANDROGYNY AND MUSICAL IDENTITY: GLITZ, GLAMOUR, AND EVERYTHING IN BETWEEN TANYA YVETTE FLORES Department of Communication APPROVED: Richard D. Pineda, Ph.D., Chair Roberto Avant-Mier, Ph.D. Ann B. Horak, Ph.D. Benjamin C. Flores, Ph.D. Interim Dean of the Graduate School Copyright © by Tanya Yvette Flores 2012 Dedication I dedicate this thesis to my grandfather, Raul Cano. He died March 13, 2012. The most adamant of all family members who believed that school is the most important decision in life. He believed in me, he supported me; he pushed me, and taught me to be a human being that believes only in love, kindness, and compassion. Throughout his struggle, he told me to keep on. Not knowing where I was in this academic process, he knew and would tell me that my finish line would come as glorious as his.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Reading Rupaul's Drag Race
    UNIVERSITY OF CALIFORNIA Los Angeles Reading RuPaul’s Drag Race: Queer Memory, Camp Capitalism, and RuPaul’s Drag Empire A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Carl Douglas Schottmiller 2017 © Copyright by Carl Douglas Schottmiller 2017 ABSTRACT OF THE DISSERTATION Reading RuPaul’s Drag Race: Queer Memory, Camp Capitalism, and RuPaul’s Drag Empire by Carl Douglas Schottmiller Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2017 Professor David H Gere, Chair This dissertation undertakes an interdisciplinary study of the competitive reality television show RuPaul’s Drag Race, drawing upon approaches and perspectives from LGBT Studies, Media Studies, Gender Studies, Cultural Studies, and Performance Studies. Hosted by veteran drag performer RuPaul, Drag Race features drag queen entertainers vying for the title of “America’s Next Drag Superstar.” Since premiering in 2009, the show has become a queer cultural phenomenon that successfully commodifies and markets Camp and drag performance to television audiences at heretofore unprecedented levels. Over its nine seasons, the show has provided more than 100 drag queen artists with a platform to showcase their talents, and the Drag Race franchise has expanded to include multiple television series and interactive live events. The RuPaul’s Drag Race phenomenon provides researchers with invaluable opportunities not only to consider the function of drag in the 21st Century, but also to explore the cultural and economic ramifications of this reality television franchise. ii While most scholars analyze RuPaul’s Drag Race primarily through content analysis of the aired television episodes, this dissertation combines content analysis with ethnography in order to connect the television show to tangible practices among fans and effects within drag communities.
    [Show full text]