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September 23, 2011 | Volume IX Issue 10 CHA-CHA HEELS, LIQUID EYELINER, AND
OUT September 23, 2011 | Volume IX Issue 10 CHA-CHA HEELS, LIQUID EYELINER, AND... The Most Beautiful Woman in the World B y chucK Duncan If you’re a native of Baltimore (and even if you’re not), you certainly know John Waters and Divine. From John’s ear- ly short films from the late 60s to his 1972 calling card, Emmett C. Burns, Pink Flamingos, through 1988’s Hairspray, Waters and his Jr., Announces PAC muse Divine showed the rest of the world what the “reel” to Oppose Marriage Baltimore was like (and there was more than a little of the “real” in those films too). Equality Unfortunately, shortly after the release of Hairspray, Divine passed away suddenly at the true By Dana LaRocca height of his career (he was in Hollywood On September 9, Delegate Emmett C. Susan Lowe, preparing to tape an episode of Married Burns, Jr. (D-Baltimore County) met Mink Stole and Jeffrey … with Children at the time of his death), with eight other clergy at a church in Schwarz depriving the world of his talent and what west Baltimore to announce the for- during their might have come from his true “overnight” mation of “Progressive Clergy in interview stardom. Action” a political action committee. sessions in Today, Divine is a cult figure to many, The group is working with the help of Baltimore his legion of fans from around the world the Maryland Family Alliance, an af- photo: courtesy of Jeffrey Schwarz —continued on page 16 filiate of the Family Research Council (FRC). Delegate Burns has long been and Developed by a Combined Arms Center- an opponent of marriage equality. -
The Evolution of Fat Female Characters in Contemporary American Film a Thesis Presented to the Faculty Of
Changing Shape: The Evolution of Fat Female Characters in Contemporary American Film A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Laura E. Pohlman April 2016 © 2016 Laura E. Pohlman. All Rights Reserved. 2 This thesis titled Changing Shape: The Evolution of Fat Female Characters in Contemporary American Film by LAURA E. POHLMAN has been approved for the School of Film and the College of Fine Arts by Ofer Eliaz Assistant Professor of Film Studies Elizabeth Sayrs Interim Dean, College of Fine Arts 3 Abstract LAURA E. POHLMAN, M.A., April 2016, Film Changing Shape: The Evolution of Fat Female Characters in Contemporary American Film Director of Thesis: Ofer Eliaz The purpose of this thesis is to elucidate the fluid conception of fat women within contemporary American culture from the early 1970s to the present. Due to their non- normative embodiment, fat women typically face denigration and marginalization. Most mainstream film narratives reify the negative social positioning of fat women, often through assimilationist characters that resign themselves to fatphobia or otherwise compensate for their fatness. On the flipside, carnival and camp narratives foster liberatory fat characterization, as exemplified by the figure of “the unruly woman.” In his portrayal of both assimilationist and liberationist women, Divine functions as a barometer for subsequent fat characterization. Overall, this thesis critiques fat assimilation, argues for the importance of fat liberation, and projects a future where fat acceptance becomes the norm. 4 Table of Contents Page Abstract .............................................................................................................................. -
The Gay Revolution and the Pink Flamingos Bachelor’S Diploma Thesis
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Jiří Vrbas The Gay Revolution and the Pink Flamingos Bachelor’s Diploma Thesis Supervisor: doc. Michael Matthew Kaylor, PhD. 2016 1 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. ………………………………………………. 2 “I thank God I was raised Catholic, so sex will always be dirty.” (John Waters) Acknowledgement I would like to thank my supervisor doc. Michael Matthew Kaylor, PhD, for his help and for making me believe in this topic. I would also like to thank him and Jeffrey Alan Vanderziel, BA, alike for their Gay Studies course. Knowledge acquired in their class provided the necessary background for this analysis. 3 Table of Contents Introduction ..................................................................................................................... 5 I. Being Gay in the Past .................................................................................................. 7 I.1. 18th Century Europe ................................................................................................ 7 I.2. The Early 20th Century USA .................................................................................. 9 I.3. The 1950s USA .................................................................................................... 14 II. Early Gay Rights Activism .................................................................................... -
'I'm SO FUCKING BEAUTIFUL I CAN't STAND IT MYSELF': Female Trouble, Glamorous Abjection, and Divine's Transgressive Pe
CUJAH MENU ‘I’M SO FUCKING BEAUTIFUL I CAN’T STAND IT MYSELF’: Female Trouble, Glamorous Abjection, and Divine’s Transgressive Performance Paisley V. Sim Emerging from the economically depressed and culturally barren suburbs of Baltimore, Maryland in the early 1960s, director John Waters realizes flms that bridge a fascination with high and low culture – delving into the putrid realities of trash. Beginning with short experimental flms Hag in a Black Leather Jacket (1964), Roman Candles (1966), and Eat Your Makeup (1968), the early flms of John Waters showcase the licentious, violent, debased and erotic imagination of a small community of self-identifed degenerates – the Dreamlanders. Working with a nominal budget and resources, Waters wrote, directed and produced flms to expose the fetid underbelly of abject American identities. His style came into full force in the early 1970s with his ‘Trash Trio’: Multiple Maniacs (1970), Pink Flamingos (1972), and Female Trouble (1974). At the heart of Waters’ cinematic achievements was his creation, muse, and star: Divine.1 Divine was “’created’ in the late sixties – by the King of Sleaze John Waters and Ugly-Expert [makeup artist] Van Smith – as the epitome of excess and vulgari- ty”2. Early performances presented audiences with a “vividly intricate web of shame, defance, abjection, trauma, glamour, and divinity that is responsible for the profoundly moving quality of Divine as a persona.”3 This persona and the garish aesthetic cultivated by Van Smith aforded Waters an ideal performative vehicle to explore a world of trash. Despite being met with a mix of critical condemnation and aversion which relegated these flms to the extreme periph- ery of the art world, this trio of flms laid the foundation for the cinematic body of work Waters went on to fesh out in the coming four decades. -
Literary Modernism, Queer Theory, and the Trans Feminine Allegory
UC Irvine FlashPoints Title The New Woman: Literary Modernism, Queer Theory, and the Trans Feminine Allegory Permalink https://escholarship.org/uc/item/11z5g0mz ISBN 978081013 5550 Author Heaney, Emma Publication Date 2017-08-01 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The New Woman The FlashPoints series is devoted to books that consider literature beyond strictly national and disciplinary frameworks, and that are distinguished both by their historical grounding and by their theoretical and conceptual strength. Our books engage theory without losing touch with history and work historically without falling into uncritical positivism. FlashPoints aims for a broad audience within the humanities and the social sciences concerned with moments of cultural emergence and transformation. In a Benjaminian mode, FlashPoints is interested in how liter- ature contributes to forming new constellations of culture and history and in how such formations function critically and politically in the present. Series titles are available online at http://escholarship.org/uc/fl ashpoints. series editors: Ali Behdad (Comparative Literature and English, UCLA), Edi- tor Emeritus; Judith Butler (Rhetoric and Comparative Literature, UC Berkeley), Editor Emerita; Michelle Clayton (Hispanic Studies and Comparative Literature, Brown University); Edward Dimendberg (Film and Media Studies, Visual Studies, and European Languages and Studies, UC Irvine), Founding Editor; Catherine Gallagher (English, UC Berkeley), Editor Emerita; Nouri Gana (Comparative Lit- erature and Near Eastern Languages and Cultures, UCLA); Susan Gillman (Lit- erature, UC Santa Cruz), Coordinator; Jody Greene (Literature, UC Santa Cruz); Richard Terdiman (Literature, UC Santa Cruz), Founding Editor A complete list of titles begins on p. -
Tantalising Glimpses: a LADA Study Room Guide on Fat Charlotte Cooper
Tantalising Glimpses: A LADA Study Room Guide on Fat Charlotte Cooper LADA Study Room Guides As part of the continuous development of the Study Room we regularly commission artists and thinkers to write personal Study Room Guides on specific themes. The idea is to help navigate Study Room users through the resource, enable them to experience the materials in a new way and highlight materials that they may not have otherwise come across. All Study Room Guides are available to view in our Study Room, or can be viewed and/or downloaded directly from their Study Room catalogue entry. Please note that materials in the Study Room are continually being acquired and updated. For details of related titles acquired since the publication of this Guide search the online Study Room catalogue with relevant keywords and use the advance search function to further search by category and date. Cover Image: Matthew See from the Fattylympics in 2012 depicting a non- competitive event called Spitting on the BMI Chart. You can find out more in Charlotte's book: Fat Activism: A Radical Social Movement. Cover Design: Ben Harris, 2020 Tantalising Glimpses: A LADA Study Room Guide on Fat Charlotte Cooper Contents • Introduction o About Me o Why I Love the Study Room o How I came to write this Study Room Guide o Assumptions and Limitations o Language § Jargon • Background o Five reasons why Live Artists should care about fat o Why fat Live Art is hard to find o Navigating the Study Room if you are fat • Suggested Reading and Viewing o Activism o Ambiguity o Clubbers o Contemporaries o Fatphobia o Fodder o Founding Figures o Invisibility o Other Study Room Guides and LADA publications o Tantalising Glimpses • The Missing Study Room • Last Word • Appendix Introduction Hello and welcome. -
By Billups Allen Billups Allen Spent His Formative Years in and Around the Washington D.C
By Billups Allen Billups Allen spent his formative years in and around the Washington D.C. punk scene. He graduated from the University of Arizona with a creative writing major and a film minor. He has worked in seven different record stores around the country and currently lives in Memphis, Tennessee where he works for Goner Records, publishes Cramhole zine, contributes music and movie writing regularly to Razorcake, Ugly Things, and Lunchmeat magazines, and writes fiction. (cramholezine.com, [email protected]) Illustrations by Codey Richards, an illustrator, motion designer, and painter. He graduated from the University of Alabama in 2009 with a BFA in Graphic Design and Printmaking. His career began by creating album art and posters for local Birmingham venues and bands. His appreciation of classic analog printing and advertising can be found as a common theme in his work. He currently works and resides at his home studio in Birmingham, Alabama. (@codeyrichardsart, codeyrichards.com) Layout by Todd Taylor, co-founder and Executive Director of Razorcake/Gorsky Press, Inc. Razorcake is a bi-monthly, Los Angeles-based fanzine that provides consistent coverage of do-it-yourself punk culture. We believe in positive, progressive, community-friendly DIY punk, and are the only bona fide 501(c)(3) non-profit music magazine in America. We do our part. This zine is made possible in part by support by the Los Angeles County Department of Arts and Culture. Printing Courtesy of Razorcake Press razorcake.org ne rainy weekday, my friend and I went to a small Baltimore shop specializing in mid-century antiques called Hampden Junque. -
Out-Siders: Auteurs in Place by Nathan B. Koob a Dissertation
Out-siders: Auteurs in Place by Nathan B. Koob A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Screen Arts and Cultures) in the University of Michigan 2015 Doctoral Committee: Professor Caryl Flinn, Co-Chair Associate Professor Daniel Chilcote Herbert, Co-Chair Emeritus Professor Richard Abel Distinguished Professor Lucy Fischer, University of Pittsburgh Professor Johannes von Moltke © Nathan B. Koob 2015 For My Family: Elise, Mom, Dad, Lisa, Crew Whose love and support never wavers and is always in place. ii ACKNOWLEDGEMENTS I imagine that every dissertation feels like a journey and in this case I feel like it is more a descriptor than a metaphor at this point given the amount of travel and discovery involved. I am overwhelmed by just thinking about the many people who have helped me to reach this place where I am at and I am so incredibly grateful. I would be remiss to not start at the beginning and mention my Senior High School English teacher who first began to teach me that cinema was something I could both love and engage with intellectually. I will never forget that John Erwin started me on this path by loaning me great films and being kind enough to sit down and talk with me about them. In my undergrad at Oklahoma State University I was lucky to have a mentor who understood my passion for the subject of media studies and how best to direct it. Hugh Manon was extremely important to my early development as a scholar and encouraging me to go to graduate school. -
Subverting the Gendered Bodies in Female Trouble (John Waters) and Liquid Sky (Slava Tsukerman) Benjamin Cattin
Subverting the Gendered Bodies in Female Trouble (John Waters) and Liquid Sky (Slava Tsukerman) Benjamin Cattin To cite this version: Benjamin Cattin. Subverting the Gendered Bodies in Female Trouble (John Waters) and Liquid Sky (Slava Tsukerman). Education. 2020. hal-02962404 HAL Id: hal-02962404 https://hal-univ-fcomte.archives-ouvertes.fr/hal-02962404 Submitted on 9 Oct 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License Subverting the Gendered Bodies in Female Trouble (John Waters) and Liquid Sky (Slava Tsukerman) Mémoire de Master MEEF parcours anglais présenté par Benjamin Cattin. Sous la direction d’Adrienne Boutang (UFR SLHS, INSPE de Franche-Comté). Session de mai 2020. Table of contents Thanks p.3 Introduction p.4 I) (De)constructing gender p.7 1. Gender is artificial p.7 1.1. The social construction of gender p.7 1.2. The masquerade p.9 2. Devices for the subversion of gender p.10 2.1. Cross-dressing and drag p.10 2.2. Androgyny p.13 2.3. Camp p.14 II) Subverting through excess p.15 1. -
Vente Aux Encheres Publiques Affiches De Cinema
jean-claude renard commissaire-priseur expert judiciaire VENTE AUX ENCHERES PUBLIQUES AFFICHES DE CINEMA Mercredi 28 janvier A 17 h 30 CINEMA « GRAND ACTION » 5 rue des Ecoles 75005 PARIS Frais de vente en sus des enchères : 25 % TTC Liste et photographies visibles sur www.interencheres.com/75022 Catalogues sur demande Jean-Claude Renard, maison de ventes aux enchères publiques s.a.s, Société agréée en date du 20 décembre 2001, n°2001-025 / 28 rue beaubourg 75003 paris Tél : 01-42-72-03-65 Nouveau Mail : [email protected] "LES NERFS À VIF" (1962) de Jack Lee Thompson avec Robert Mitchum, et, 1 (Cape Fear) Gregory Peck. 70/120 Affiche Universal International. "EXODUS" (1960) de Otto Preminger avec Paul Newman, Eva Marie Saint, Peter Lawford. 2 Affiche dessinée par Saül Bass. United Artists. 70/120 "LES SEPT MERCENAIRES" (1960) de John Sturges avec Yul Brynner, et, 3 Steve Mac Queen. 70/120 Affiche United Artists. "LOVE" (1970) de Ken Russell avec Oliver Reed, Glenda Jackson, Alan Bates. 4 Affichette de Peter Weevers. United Artists. 30/60 "BARBARELLA" (1968) de Roger Vadim avec Jane Fonda, John Philip Law. 5 Affiche Films Paramount. 100/160 "QUOI DE NEUF PUSSYCAT?" (1965) de Clive Donner avec Peter Sellers, 6 Romy Schneider, Woody Allen etc … 60/120 Affiche de Siry. United Artists. "LA DÉESSE DE FEU" (1965) de Robert Day avec Ursula Andress, Christopher Lee, 7 Peter Cushing. 70/90 Production Hammer. Films MGM. Affiche de G. Allard. "DU SANG POUR DRACULA" (1974) de Andy Warhol et, Paul Morrissey avec Udo Kier, 8 Joe Dallessandro. -
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. -
John Waters Filmmaker, Screenwriter, Actor, Stand-Up Comedian, Author
Inspicio Cinema Introduction to John Waters. 0:35 sec. Interview: Raymond Elman. Camera: Lee Skye. Videography: Christina Hester. Production: Fabian Osorio. Recorded: 11/19/2019, Miami Book Fair. John Waters: Filmmaker, Screenwriter, Actor, Stand-up Comedian & Author By Elman + Skye + Hester + Osorio OHN WATERS (b. 1946) is a filmmaker, writer, actor and artist, born and raised in Baltimore. Waters rose to J prominence in the early 1970s for his transgressive cult films, including Multiple Maniacs (1970), Pink Flamingos (1972), and Female Trouble (1974). He wrote and directed the 1988 film Hairspray, which became an international success, was turned into a hit Broadway musical, and has remained in almost continuous production. Waters has written and directed other successful films, includingPolyester (1981), Cry-Baby (1990), Serial Mom (1994), Pecker (1998), and Cecil B. Dement- ed (2000). In 2015, the British Film Institute celebrated Waters’ films with a retrospective in honor of his 50-year filmmaking career. Later that year, he was nominated for a Grammy Award for the spo- ken word version of his book Carsick. As an actor, Waters has appeared in films such as Sweet and Lowdown (1999), Seed of Chucky (2004), Excision (2012), and Suburban Gothic (2014). More recently, he performs in his touring one-man show This Filthy World. Waters has often worked with actor Divine, and his regular cast the Dreamlanders. In addition to filmmaking and acting, Waters works as a visual artist across different mediums such as installations, photogra- phy, and sculpture. He has published multiple collections of his journalistic exploits, screenplays, ruminations and artwork. Wa- ters’ visual art is exhibited regularly in galleries and museums around the world.