A Union Member's Guide to Upcoming Events
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Configuring a Scatological Gaze in Trash Filmmaking Zoe Gross
Excremental Ecstasy, Divine Defecation and Revolting Reception: Configuring a Scatological Gaze in Trash Filmmaking Zoe Gross Scatology, for all the sordid formidability the term evokes, is not an es- pecially novel or unusual theme, stylistic technique or descriptor in film or filmic reception. Shit happens – to emphasise both the banality and perva- siveness of the cliché itself – on multiple levels of textuality, manifesting it- self in both the content and aesthetic of cinematic texts, and the ways we respond to them. We often refer to “shit films,” using an excremental vo- cabulary redolent of detritus, malaise and uncleanliness to denote their otherness and “badness”. That is, films of questionable taste, aesthetics, or value, are frequently delineated and defined by the defecatory: we describe them as “trash”, “crap”, “filth”, “sewerage”, “shithouse”. When considering cinematic purviews such as the b-film, exploitation, and shock or trash filmmaking, whose narratives are so often played out on the site of the gro- tesque body, a screenscape spectacularly splattered with bodily excess and waste is de rigeur. Here, the scatological is both often on blatant dis- play – shit is ejected, consumed, smeared, slung – and underpining or tinc- turing form and style, imbuing the text with a “shitty” aesthetic. In these kinds of films – which, as their various appellations tend to suggest, are de- fined themselves by their association with marginality, excess and trash, the underground, and the illicit – the abject body and its excretia not only act as a dominant visual landscape, but provide a kind of somatic, faecal COLLOQUY text theory critique 18 (2009). -
THIS FILTHY WORLD Panorama THIS FILTHY WORLD Dokumente THIS FILTHY WORLD Regie: Jeff Garlin
Berlinale 2007 THIS FILTHY WORLD Panorama THIS FILTHY WORLD Dokumente THIS FILTHY WORLD Regie: Jeff Garlin USA 2006 Dokumentarfilm mit John Waters Länge 86 Min. Format HD-Cam Farbe Stabliste Buch John Waters Kamera Dan Shulman Schnitt Rob Naylor Mitarbeit Jared Gutstadt Steve Beganyi Eric Ramistella Production Design Vince Peranio Maske Cheryl „Pickles“ Kinion Regieassistenz Rob Naylor Produzenten Michele Armour Jeff Garlin Co-Produzent Eric Besner Executive Producer Ted Sarandos Associate Producer Lukas Kaiser Co-Produktion Red Envelope Entertainment Produktion Red Envelope Entertainment/Netflix 345 North Maple Drive, Suite 300 USA-Beverly Hills CA 90210 Tel.: 310 734 29 39 Fax: 310 734 29 99 [email protected] Weltvertrieb Cinemavault Releasing Int. VP International Distribution 175 Bloor St. East South Tower, Suite 1011 John Waters CAN-Toronto M4W 3R8 Tel.: 416-363 60 60 Fax: 416-363 23 05 THIS FILTHY WORLD [email protected] Einen „Papst des Trash“ hat William S. Burroughs einmal den Filmemacher John Waters genannt – in diesem Filmporträt gewährt der Hohepriester des schlechten Geschmacks nun so etwas wie eine Privataudienz. Alles, was Sie über den Regisseur von HAIRSPRAY und POLYESTER immer schon wis- sen wollten, aber zu fragen nie den Mut aufbrachten, beantwortet er hier im Rahmen einer One-Man-Show auf unterhaltsamste und überaus profes- sionelle Weise. Denn John Waters ist absolut bühnenerprobt. Als er Mitte der 60er Jahre zu filmen begann, reiste er mit seinen ersten Werken MONDO TRASHO und MULTIPLE MANIACS durch die Lande und präsentierte sie in einem noch heute legendären Rahmenprogramm. Dessen Höhepunkt: ein Live-Auftritt des Waters-„Superstars“ Divine. Gemeinsam traten die bei- den in Kinos, Punkrock- und Comedy-Clubs, in Colleges und sogar an der Uni ver si tät von Oxford auf. -
Rock”N”Roll Cinema
Rock’n’Roll Cinema Adam Trainer Bachelor of Arts With First Class Honours in Media Studies This thesis is submitted for the degree of Doctor of Philosophy School of Media, Communication and Culture Murdoch University 2005 I declare that this thesis is my own account of my research and contains, as its main content, work which has not previously been submitted for a degree at any tertiary educational institution. Adam Trainer Refereed Publications Adam Trainer. ‘“Well I Wouldn’t Buy the Merchandise”: David Bowie as Post -Auteur’ in Senses of Cinema 28. September/October, 2003. http://www.sensesofcinema.com/contents/03/28/bowie_postmodern_auteur.html This journal article was derived from Chapter Five Adam Trainer. ‘The Business of Living: Secrets & Lies’ in Australian Screen Education 36. September, 2004. pp. 127-129. This journal article was written in association with research on cinematic realism, as featured in Chapter Four. Adam Trainer. ‘“They Made Me Do It”: The Mad World of Donnie Darko’ in Australian Screen Education 37. January, 2005. pp. 138-142. This journal article was derived from Chapter Three. Adam Trainer. ‘“It’s Not My Fault You Hate My Band”: Perth Art Rock’ in Liverpool of the South Seas: Perth and Its Popular Music. Tara Brabazon ed. Crawley: University of Western Australia Press, 2005. pp. 127-135. This chapter was written in association with research on experimental music, as presented in Chapter Six. Adam Trainer. ‘A Crooked Crooked Reign’ in Liverpool of the South Seas: Perth and Its Popular Music. Tara Brabazon ed. Crawley: University of Western Australia Press, 2005. pp. -
James Egan Collection of John Waters Interviews MS48 Finding Aid Prepared by Joan M
James Egan Collection of John Waters Interviews MS48 Finding aid prepared by Joan M. Wolk This finding aid was produced using the Archivists' Toolkit February 12, 2016 Describing Archives: A Content Standard Enoch Pratt Free Library Special Collections 2012 http://www.prattlibrary.org/ 400 Cathedral Street Baltimore, MD, 21201 443-984-2451 [email protected] James Egan Collection of John Waters Interviews MS48 Table of Contents Summary Information ................................................................................................................................. 3 Biographical/Historical note.......................................................................................................................... 4 Scope and Contents note............................................................................................................................... 4 Arrangement note...........................................................................................................................................5 Administrative Information .........................................................................................................................5 Controlled Access Headings..........................................................................................................................5 Collection Inventory...................................................................................................................................... 7 Series I: Articles used in Interviews, dated........................................................................................... -
Abstract the Filthiest People Alive: Productions of Urban
ABSTRACT THE FILTHIEST PEOPLE ALIVE: PRODUCTIONS OF URBAN SPACES AND POPULATIONS IN THE FILMS OF JOHN WATERS by Dennis Wayne Everette Within society, a variety of attitudes concerning urbanized spaces exists. Some people adore cities while others detest them. More specifically, there is often a fear of those that dwell in the city. These perceptions are based on difference of class, race, sexuality, or deviance from the constructed social norm. The portrayal of cities in film, both negatively and positively, is a well-established trend. This thesis offers insight into perceptions of the city, its spaces and culture, by bringing together processes of othering, abjection, socio-spatial exclusion, and territoriality to try to explain fear and apprehension of urban space. Cinematic film is a valuable source of geographic knowledge, and John Waters’ work speaks to urban spaces and inhabitants deemed undesirable by the hegemonic groups in society. This thesis elucidates his production of the city; his films depict his hometown of Baltimore, Maryland as a refuge of delinquents, miscreants, and perverts. THE FILTHIEST PEOPLE ALIVE: PRODUCTIONS OF URBAN SPACES AND POPULATIONS IN THE FILMS OF JOHN WATERS A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of Geography By Dennis Wayne Everette Miami University Oxford, Ohio 2011 Advisor_______________________ (Dr. Marcia England) Reader________________________ (Dr. Bruce D’Arcus) Reader________________________ -
Placeres Grotescos: Estéticas 'Trash'
UNIVERSITAT JAUME I FACULTAD DE CIENCIAS HUMANAS Y SOCIALES INSTITUTO UNIVERSITARIO DE ESTUDIOS FEMINISTAS Y DE GÉNERO “PURIFICACIÓN ESCRIBANO” MÁSTER UNIVERSITARIO EN INVESTIGACIÓN APLICADA EN ESTUDIOS FEMINISTAS, DE GÉNERO Y CIUDADANÍA PLACERES GROTESCOS: ESTÉTICAS ‘TRASH’ COMO HERRAMIENTAS DE SUBVERSIÓN AL CANON HETEROPATRIARCAL EN EL CINE NORTEAMERICANO DE LOS ’60 Y ‘70 TRABAJO FIN DE MÁSTER Presentado por: Adriana García García- Arquimbau Dirigido por: Manolo Dos Ramos Universitat Jaume I – 2017 RESUMEN Como algunos filósofos cercanos al marxismo afirman, el cine puede leerse como un “aparato ideológico del estado” a través del cual se reproduce y legitima una ideología que naturaliza la hegemonía vigente sustentada en el orden patriarcal. En las décadas de los ’60 y ’70 y amparada en los “cultural studies” la crítica fílmica feminista argumentaría cómo las películas representativas del Hollywood clásico establecían un tipo de mirada hecha para el disfrute de la masculinidad hegemónica a costa de la cosificación y banalización de las mujeres e invisibilización de otras identidades sexuales. Uno de los mecanismos de dominación pasaría por estandarizar un canon –en realidad patriarcal y androcéntrico- como universal y exponente del buen gusto así como de la calidad cinematográfica. Por ello, muchos jóvenes críticos con el sistema idearían y usarían diferentes estéticas para criticar la mirada masculina. Ello lo harían utilizando deliberadamente unas sensibilidades -basadas políticamente en el "mal gusto”- que se leerían como herramientas subversivas al canon estético androcéntrico. De esta forma se produjeron muchísimas películas cuyos personajes desafiaban el sistema heteropatriarcal a través de feminidades agresivas, personajes trans o intersexuales o mujeres grotescas claramente alejadas de la contención. -
DIVINE WATERS , Extremos Entre Plano Y Cuerpo
ROSTROS DIVINE- WATERS , extremos entre plano y cuerpo A lo largo de los últimos años se ha producido un constante interés en forma de documentales y ensayos, tanto por la figura de Divine como por el cine de John Waters. En lugar de trazar un mero repaso por sus películas conjuntas, realizaremos una aproximación a cierta relación entre plano y cuerpo, tratando de recalcar la originalidad que Foto: Problemas aportaron al cine contemporáneo más allá de sus femeninos anécdotas escatológicas. | SERgiO MARQUETA CALVO 32 VENTANA INDISCRETA 22 Universidad de Lima New Yorker Fuente: VENTANA INDISCRETA 22 | Universidad de Lima 33 chando una mirada hacia atrás Uno de los grandes esfuerzos están títulos tan ilustrativos a modo de contextualización, de los estudios constructi- como La venganza de los nerds nos encontramos con una de las vistas ha sido desmontar (Revenge of the nerds, Jeff grandes corrientes del cine esta- dicha ilusión naturalista. No Kanew, 1984), Slacker (Richard dounidense de la segunda década obstante, resultará muy pecu- Linklater, 1991), Cabezas del siglo pasado, acaso la más liar la manera en la que dichos huecas (Airheads, Michael original con respecto al resto de cuerpos residuales se situarán Lehmann, 1994), El tonto y el producción mundial. Es aquella como centros de la acción, pues más tonto (Dumb and dumber, cómica deudora del grindhouse lo lograrán solo después de Peter y Bobby Farrelly, 1994) y lo exploitation que se articula o Jóvenes y rebeldes (Freaks en torno a la universidad. Esta es la mitología cristiana el verbo and Geeks, Paul Feig, 1999- capaz de reunir una pluralidad sehaber hacía sido carne, descalificados; en esta realidad si en 2000)1. -
LA MIA (POCO MAGNIFICA) OSSESSIONE PER JOHN WATERS Di Vito Zagarrio
LA MIA (POCO MAGNIFICA) OSSESSIONE PER JOHN WATERS di Vito Zagarrio E‟ curioso che due registi che amo, che ho conosciuto personalmente e su cui ho lavorato nel corso di molti anni, abbiano le loro carte custodite nello stesso archivio: parlo di Frank Capra e di John Waters, i cui files sono conservati alla Wesleyan University a Middletown, nel Connecticut. Forse non è un caso che il re della favola a lieto fine e il principe dello schifo convivano a pochi passi, negli stessi corridoi: perché anche John produce “fiabe”, seppure atipiche, non rassicuranti, senza mielosi happy ending, ma finali “felici” solo per i cattivi. Se il “buonista” Capra ama Cenerentola e tutti i Cinderella men e women, il perfido Waters parteggia per il villain di turno, per il lupo cattivo o, come lui stesso dichiara a più riprese, per Captain Hook. “Favole” sono le saghe di Divine, favola è – più dichiaratamente – Desperate Living, situato dentro un regno immaginario. Le favole di Waters sono deliranti, surreali, volgari, spiazzanti, favole “per adulti” ma anche per eterni bambini dove i “buoni” sono la matrigna e la strega cattiva; e la favola dello stesso John, Capitan Uncino ma allo stesso tempo inguaribile Peter Pan, ragazzino mai cresciuto che dai filmetti casalinghi ha raggiunto Hollywood. “Dreamland”, la terra del sogno, si chiamano del resto il suo sito e la sua Compagnia di sempre; una specie di “Fantasyland” disneyana più consapevole del ruolo onirico del mezzo-cinema. Dreamland: perché l‟apparato del cinema su cui Waters spesso riflette ha a che fare coi sogni, e perché John è un grande fabbricatore di sogni, e di incubi, americani. -
Transatlantica, 2 | 2015 Sex, Gore and Provocation: the Influence of Exploitation in John Waters’S Ear
Transatlantica Revue d’études américaines. American Studies Journal 2 | 2015 The Poetics and Politics of Antiquity in the Long Nineteenth-Century / Exploiting Exploitation Cinema Sex, Gore and Provocation: the Influence of Exploitation in John Waters’s Early Films Elise Pereira Nunes Electronic version URL: http://journals.openedition.org/transatlantica/7881 ISSN: 1765-2766 Publisher AFEA Electronic reference Elise Pereira Nunes, « Sex, Gore and Provocation: the Influence of Exploitation in John Waters’s Early Films », Transatlantica [Online], 2 | 2015, Online since 13 July 2016, connection on 11 October 2018. URL : http://journals.openedition.org/transatlantica/7881 This text was automatically generated on 11 October 2018. Transatlantica – Revue d'études américaines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Sex, Gore and Provocation: the Influence of Exploitation in John Waters’s Ear... 1 Sex, Gore and Provocation: the Influence of Exploitation in John Waters’s Early Films Elise Pereira Nunes Introduction 1 Born in Baltimore in 1946, American filmmaker John Waters soaked in movie culture as a child and a teenager, fascinated with Hollywood melodramas and female icons, the “nudie cuties” of exploitation cinema, horror movies and the independent productions of underground filmmakers. His first home-made productions, which he started making when he was sixteen, testify to the influence of these very different approaches to cinema in terms of production, distribution and promotion, as well as genres and themes. 2 Drawn to rival movie cultures—Hollywood productions and major studios theaters on the one hand, and local, independent theaters and drive-ins on the other (Doherty, 2002, 92) —he decided to teach himself how to make his own movies and modeled his films on the exploitation and underground filmmakers he idolized (Waters, 1991, 44). -
Heteronormative Villains and Queer Heroes Queer
Hugvísindasvið Heteronormative Villains and Queer Heroes Queer Representation in the Films of John Waters B.A. Essay Ásta Karen Ólafsdóttir May 2014 University of Iceland School of Humanities Department of English Heteronormative Villains and Queer Heroes Queer Representation in the Films of John Waters B.A. Essay Ásta Karen Ólafsdóttir Kt.: 150390-2499 Supervisor: Martin Regal May 2014 Abstract The purpose of this essay is to explore the queer representation in the films of director/screenwriter John Waters. His entire feature-length filmography is discussed and elements, such as dialogue, characters, themes, acting styles and references, with queer intent, whether they be overt or subtle, are brought to light. The aim is to show how queer representation was depicted in his films while working as an independent filmmaker, outside the studio system, and how that representation went through a transformation once Waters began working within the studio system. Therefore, the films are split into two groups: the pre-studio films (from 1969’s Mondo Trasho to 1977’s Desperate Living) and the in-studio films (from 1981’s Polyester to 2004’s A Dirty Shame). The films, being examined both as stand-alone films and in comparison and contrast to other films within Waters’ filmography, are placed in chronological order, and the queer representation of each film is examined. It is evident that Waters’ films changed when Hollywood studios began funding them, as he had to follow and respect the studio’s rules and guidelines. Within the studio system, Waters had to abandon his main-theme of mocking the bourgeois, as the films now had to appeal to a mainstream audience, rather than the queer and hippie audience of his earlier films. -
Leite Pedrodearaujo M.Pdf
iii iv Para a humanidade v vi Agradecimentos Gostaria de agradecer ao Prof. Fábio Durão pela orientação e aos colegas orientandos pela leitura atenta e crítica de vários trechos desta dissertação. A toda a minha família, sem exceções ou omissões, pelo apoio e amor incondicional. Aos amigos: Sabrina pela paciência inesgotável, Rafael pelo apoio logístico e existencial, Amanda e Graziele pelo normativismo pedagógico, Luisa pelo auxílio transatlântico, Túlio por incorporar tão completamente a utopia juvenil na qual ainda quero acreditar, Égon pelo contraste oferecido, Thiago Righi pelo companheirismo durante o mais audacioso dos trabalhos de campo e Thiago de Assis por me ensinar que, aconteça o que acontecer, o Estado sempre controlará o indivíduo. Aos extra-acadêmicos, mas não menos queridos Didi, Juliana, Vítor, Ivan, Davi, Carlos, Rafael e Guilherme; Renato, Paulo, Daniel e Fábio. À Natália, que um dia me fez esquecer, mesmo que só por alguns instantes, que a vida é uma merda. Aos professores Renato Ortiz e Jeanne Marie, por me ensinarem muito do pouco que eu sei sobre Adorno, Horkheimer e afins. À mistura, em partes iguais, de Akira e Led Zeppelin que um dia pensei ter encontrado aqui na Unicamp e que me fez assim, tão especial. vii viii Esta tese tenta descrever em linhas gerais o conceito de camp e sua trajetória dentro da indústria cultural desde meados do século XX até hoje e apontar as mudanças em seu papel simbólico em uma possível reação a essa mesma indústria a partir de um consumo ironicamente passivo com fins tanto aristocráticos quanto satíricos, e para tanto usa como objetos de estudo o filme “Pink Flamingos”, dirigido por John Waters em 1972, e “Batman, the TV series”, seriado de TV produzido pela rede americana FOX entre os anos de 1966 e 1968. -
Transatlantica, 2 | 2015 Sex, Gore and Provocation: the Influence of Exploitation in John Waters’S Ear
Transatlantica Revue d’études américaines. American Studies Journal 2 | 2015 The Poetics and Politics of Antiquity in the Long Nineteenth-Century / Exploiting Exploitation Cinema Sex, Gore and Provocation: the Influence of Exploitation in John Waters’s Early Films Elise Pereira Nunes Electronic version URL: http://journals.openedition.org/transatlantica/7881 DOI: 10.4000/transatlantica.7881 ISSN: 1765-2766 Publisher AFEA Electronic reference Elise Pereira Nunes, “Sex, Gore and Provocation: the Influence of Exploitation in John Waters’s Early Films”, Transatlantica [Online], 2 | 2015, Online since 13 July 2016, connection on 29 April 2021. URL: http://journals.openedition.org/transatlantica/7881 ; DOI: https://doi.org/10.4000/transatlantica.7881 This text was automatically generated on 29 April 2021. Transatlantica – Revue d'études américaines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Sex, Gore and Provocation: the Influence of Exploitation in John Waters’s Ear... 1 Sex, Gore and Provocation: the Influence of Exploitation in John Waters’s Early Films Elise Pereira Nunes Introduction 1 Born in Baltimore in 1946, American filmmaker John Waters soaked in movie culture as a child and a teenager, fascinated with Hollywood melodramas and female icons, the “nudie cuties” of exploitation cinema, horror movies and the independent productions of underground filmmakers. His first home-made productions, which he started making when he was sixteen, testify to the influence of these very different approaches to cinema in terms of production, distribution and promotion, as well as genres and themes. 2 Drawn to rival movie cultures—Hollywood productions and major studios theaters on the one hand, and local, independent theaters and drive-ins on the other (Doherty, 2002, 92)—he decided to teach himself how to make his own movies and modeled his films on the exploitation and underground filmmakers he idolized (Waters, 1991, 44).