With Isaac Julien and Pratibha Parmar
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Here in the United Online Premieres Too
Image : Self- portrait by Chila Kumari Singh Burman Welcome back to the festival, which this Dive deep into our Extra-Ordinary Lives strand with amazing dramas and year has evolved into a hybrid festival. documentaries from across South Asia. Including the must-see Ahimsa: Gandhi, You can watch it in cinemas in London, The Power of The Powerless, a documentary on the incredible global impact of Birmingham, and Manchester, or on Gandhi’s non-violence ideas; Abhijaan, an inspiring biopic exploring the life of your own sofa at home, via our digital the late and great Bengali actor Soumitra Chatterjee; Black comedy Ashes On a site www.LoveLIFFatHome.com, that Road Trip; and Tiger Award winner at Rotterdam Pebbles. Look out for selected is accessible anywhere in the United online premieres too. Kingdom. Our talks and certain events We also introduce a new strand dedicated to ecology-related films, calledSave CARY RAJINDER SAWHNEY are also accessible worldwide. The Planet, with some stirring features about lives affected by deforestation and rising sea levels, and how people are meeting the challenge. A big personal thanks to all our audiences who stayed with the festival last We are expecting a host of special guests as usual and do check out our brilliant year and helped make it one of the few success stories in the film industry. This online In Conversations with Indian talent in June - where we will be joined year’s festival is dedicated to you with love. by Bollywood Director Karan Johar, and rapidly rising talented actors Shruti Highlights of this year’s festival include our inspiring Opening Night Gala Haasan and Janhvi Kapoor, as well as featuring some very informative online WOMB about one woman gender activist who incredibly walks the entire Q&As on all our films. -
Reading the Intersection of Racial and Sexual Marginalization in Rex Vs Singh and Seeking Single White Male
Journal of Ethnic and Cultural Studies Copyright 2019 2019, Vol. 6, No. 1, 1-14 ISSN: 2149-1291 Confronting Ambiguity: Reading the Intersection of Racial and Sexual Marginalization in Rex vs Singh and Seeking Single White Male Yilong Liu1, Soyang Park2 OCAD University, Toronto, Canada This qualitative study of two Canadian films examines how filmmakers and artists explore racial and sexual marginalization and repression in Canada through an in-depth analysis of the films’ visual, textual, and sonic elements. Rex vs Singh (Greyson et al., 2008) and Seeking Single White Male (Shraya, 2010), using diverse cinematic devices and self-enacting performances, address different intersecting modes of racial and sexual marginalization against South Asian immigrants in historical and contemporary Canada. Using Louis Althusser’s concepts of Repressive State Apparatuses (RSAs) and Ideological State Apparatuses (ISAs) as a key framework, we identify “ambiguity” as a critical space to explore and examine the operation of the state policy (RSAs) in the early 20th century, and workings of the invisible ideology (white normativity) through enlisting their subjects to internalize the norm (ISAs) at present. This discussion is followed by an evaluation of how filmmakers and artists mobilize their “differential consciousness” (Chela Sandoval) to confront these ambiguities as mobile tactics that complement the ongoing race and gender liberation movements. Rather than providing definitive results or solutions, this research aids understanding of the continuing struggles of racialized sexual minorities in Canada—a country that has constitutionalized multiculturalism in 1971—in light of Canada’s 150th celebration (2017). Keywords: queer, gender and sexuality, film, ethnic studies, ambiguity. -
View Full Issue As
The Weekly Voice of Wisconsin's LGBT Community May 5-11, 1999 11 V. • Looking Ahead Through The Past They have lived through and helped foster one of the most remarkable social revolutions in America's history. The age of Gay liberation is largely a product of their efforts. Living laid the t0undation of our cur- surk. iked rent Gay culture. older Gays and in a Lesbians often find themselves society ignored by it. Nevertheless. for the that was most part. Gay seniors lead happy. tar more fulfilling lies. o nto- Many societies treat their older members with iJl lt reverence. In those cultures the word "elder" is a t han mark of respect. An elder is someone you consult present and learn from. An elder is someone who is recog- d a y nized for their past contributions. Our tarowI away. ,America "I want it now.- society races past those kk ho have is. preceded us. count- .z. The result is that many Americans, espe ;illy l eS S those who are Gay or Lesbian, tear growing older. Studies on AIDS I i IV pre ention );t\ e ways they have passed th;.it pride onto younger generations. even shown that some young people don't practice safe sex because they don't want to .roks During May, Older _American Month, flisconsin Light salutes our LGBT Wisconsin old. In an Internet post. a young Gay man wrote that if he lived to be 35, he would kill him- seniors with a series of profiles telling their life stories. These profiles begin on page 6 in this self because life as a Gay man would no longer be worth living. -
Corporate Profile
Fae Pictures Inc. @FaePictures Los Angeles | Toronto +1 323 400 0610 www.faepictures.com [email protected] CORPORATE PROFILE The global media landscape today is ripe for a production company to declaratively operate with a modus operandi to DECOLONIZE HOLLYWOOD. Enter Fae Pictures. Founded in 2017 in Toronto & Los Angeles, Fae Pictures is a storytelling production company with a mandate to “Engage audiences with stories rooted in the perspectives of the Other.” We are committed to developing, producing, and delivering stories in a variety of mediums that impact the hearts and minds of audiences, while maximizing private investment through strategic packaging, government-based incentives, and innovative storytelling practices. Loosely defined under the categories of LGBTQ+, people of color, women, and differently-abled people, the Other encompasses a community of storytellers and audiences that have been wholly underserved in the motion picture industry, and one that we seek to have a strong and integral relationship with. The company’s strategy for employing its model has three key tenets that have been culled through experience in a disruptive and innovative media environment: 1. Engaging stories – Invest a majority of Fae Pictures’ capital into the curatorial and selective development, production, and exploitation of a lucrative catalogue of high-quality original stories; 2. Engaging audiences – Find the most effective and innovative means and medium of telling each story that not only reaches audiences, but keeps them actively invested as opposed to passively interested; 3. Engaging the Other – Work with under-represented talent and audiences domestically and internationally in marginalized spaces including the LGBTQ, people of color, women, and people who are differently-abled communities. -
Three ,Modest Prop Canadian Film "In by John Harkness
Three ,Modest Prop Canadian Film "In by John Harkness After looking at it for a long time, I've decided that Canadian Cinema is just fine. We make excep- tional films like Jesus de Montreal, Dead Ringers and Thirty-two Short Films About Glenn Gould. We • make interesting films like Masala. We make deadly dull films like The Lotus Eaters and The Burning Season. In the long run, it doesn't matter much what anyone says about the film industry, which will continue to lumber slowly along, much as it has for the past decade or so. Instead, I've decided to offer a series of proposals that I think would do the film business and the Canadian soul a world of good. They will no doubt be ignored. I prefer to think of myself as being ahead of my time. CLOSE ALL FILM SCHOOLS FOR AT LEAST FIVE YEARS We have more filmmakers than we have projects for them to make, yet our film schools keep churning out little baby directors. Jean Renoir, Kenji Mizoguchi, David Lean, John Ford, Howard Hawks, Orson Welles, Steven Spielberg, Federico Fellini, Billy Wilder, David Cronenberg - none of these people went to film school. More great films have been made by people who never saw the inside of a film school than by people with graduate degrees in filmmaking. I also have considerable doubts about what they are being taught. A few years ago, a friend of mine was working for the Academy of Canadian Cinema on their director-observer program that took young filmmaking students and put them on the sets of actual, in-production films. -
Nikola Stepic
RELIGION & CULTURE Volume 26, no. 2 The JRC would like to acknowledge the support of sponsors from within the Concordia University community: Dean of Students (Concordia Council on Student Life Special Projects Committee) Department of Religion Research & Graduate Studies Faculty of Arts & Sciences Office of the Vice-President Services We would also like to offer our special thanks to: Lynda Clarke, our very supportive department Chair; Tina Montandon and Munit Merid, administrators extraordinaire; The executive staff of the CRSA, for letting us drop by all their wine and cheese events; all of our referees, readers and everyone else who gave their time to the publication of this journal. A Canadian Graduate Student Journal 2016 Volume 26, no. 1 & 2 Journal Committee Executive Committee Alexander Nachaj Editor-in-Chief Elyse MacLeod Article Editor Joseph E. Brito Publication Editor Georgia Carter Book Review Editor Editorial Board Faculty Advisors Anthony Easton Marc P. Lalonde Laurel Andrew Marcel Parent Dalia Ramirez Cote Steven Lapidus Carly Daniel-Hughes André Gagné Jean-Michel Roessli The Journal of Religion and Culture is produced by the Graduate Students of the Department of Religion at Concordia University. © 2016 Journal of Religion and Culture, Concordia University, Montreal, Quebec. ISSN 1198-6395 Journal of Religion and Culture Volume 26, no. 1 & 2 (2015/2016) All rights reserved. No part of this journal may be used or reproduced in any matter without the express written permission of the editors except in the case of brief quotations embedded in critical articles and reviews. For information: Journal of Religion and Culture, Department of Religion (FA-101) Concordia University 1455 de Maisonneuve O., Montreal, Quebec H3G 1M8 JRC logo designed: Christopher Burkart Book design: Joseph E. -
Ingl 8080/ Engl 8080
University of Puerto Rico Río Piedras campus College of Humanities Department of English Course title: Caribbean Literatures and Languages in a Global Context: Black British Cultural Studies: Theory, Film, Literature, and Popular Culture Course number: INGL 8080/ ENGL 8080 Course credits: 3 credits/ 45 hours Prerequisites: INGL 6489: Caribbean Narrative; INGL 6488: Literature, Language, and Culture of the English Speaking Caribbean, or professor’s authorization. Course Description: Critical study of trends in Black Cultural Studies, as articulated in recent decades by the Race and Politics Committee at the Centre for Contemporary Cultural Studies at Birmingham, England, and other theorists; writers and literary performers; film makers from Ceddo, Sankofa, and the Black Audio Film Collective; and popular culture artists. Objectives: Students will be able to: 1. Understand the field of Black British Cultural Studies as a critical field of local and global importance, with special relevance to Caribbean Studies scholars. 2. Recognize the various differing modes in which sociologists, cultural critics, and anti-racism activists have documented the legacies of forced diaspora, slavery, colonization, creolization, decolonization, migration, anti-immigration backlash, and community mobilization in African, Asian, and Caribbean populations settling in Britain, post-WWII. 3. Critically appraise how Cultural Studies critics, writers, and film makers have interrogated essentializing, “absolute” racial categories (i.e. tropes of “Blackness”) and -
Feminism: Dead Or Alive? 28
IDENTITY Community, Culture, Difference IDENTITY Community, Culture, Difference edited by Jonathan Rutherford LAWRENCE & WISHART LONDON Lawrence & Wishart Limited 144a Old South Lambeth Road Contents LONDON SW8 1XX First published 1990 © Lawrence & Wishart, 1990 Each essay © the author, 1990 This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, 7 re-sold, hired out or otherwise circulated Preface without the publisher's prior consent in any form of binding or cover other than that in Jonathan Rutherford which it is published and without a similar A Place Called Home: Identity and the Cultural Politics of condition including this condition, being 9 imposed on the subsequent purchaser. Difference Andrea Stuart Feminism: Dead or Alive? 28 Kobena Mercer Welcome to the Jungle: Identity and Diversity in Postmoder Politics 43 Frances Angela Confinement 72 Jeffrey Weeks The Value of Difference 88 Pratibha Parmar Black Feminism: the Politics of Articulation 101 Zarina Bhimji Live for Sharam and die for Izzat 127 Photoset in North Wales by Derek Doyle & Associates, Mold, Clwyd Simon Watney Printed and bound in Great Britain by Practices of Freedom: 'Citizenship' and the Politics of Billing & Sons, Worcester Identity in the Age of AIDS 157 Lola Young A Nasty Piece of Work: a Psychoanalytic Study of Sexual and Preface Racial Difference in 'Mona Lisa' 188 Interview with Homi Bhabha The Third Space 207 Stuart Hall Cultural Identity and Diaspora 222 In May 1989 Lawrence & Wishart organised a successful event in Biographical notes 238 London which we called 'Changing Identities'. Its purpose, closely tied to the subsequent production of this book, was to begin to think about a new politics for these times - an epoch marked by the cultural, political and economic transformation of British society, creating a new terrain on which the old political Left has looked increasingly lost. -
Introduction 1
Notes Introduction 1. Abha Dawesar, Babyji (New Delhi: Penguin, 2005), p. 1. 2. There are pitfalls when using terms like “gay,” “lesbian,” or “homosexual” in India, unless they are consonant with “local” identifications. The prob- lem of naming has been central in the “sexuality debates,” as will shortly be delineated. 3. Hoshang Merchant, Forbidden Sex, Forbidden Texts: New India’s Gay Poets (London: Routledge, 2009), p. 62. 4. Fire, dir. by Deepa Mehta (Trial by Fire Films, 1996) [on DVD]. 5. Geeta Patel, “On Fire: Sexuality and Its Incitements,” in Queering India, ed. by Ruth Vanita (London: Routledge, 2002), pp. 222–233; Jacqueline Levitin, “An Introduction to Deepa Mehta,” in Women Filmmakers: Refocusing, ed. by Jacqueline Levitin, Judith Plessis, and Valerie Raoul (Vancouver: UBC Press, 2002), pp. 273–283. 6. A Lotus of Another Color, ed. by Rakesh Ratti (Boston: Alyson Publi- cations, 1993); Queering India, ed. by Ruth Vanita; Seminal Sites and Seminal Attitudes—Sexualities, Masculinities and Culture in South Asia, ed. by Sanjay Srivastava (New Delhi: Sage Publications, 2004); Because I Have a Voice: Queer Politics in India, ed. by Arvind Narrain and Gautam Bhan (New Delhi: Yoda Press, 2005); Sexualities, ed. by Nivedita Menon (New Delhi: Women Unlimited, 2007); The Phobic and the Erotic: The Politics of Sexualities in Contemporary India, ed. by Brinda Bose and Suhabrata Bhattacharyya (King’s Lynn: Seagull Books, 2007). 7. Walter Jost and Wendy Olmsted, “Introduction,” in A Companion to Rhetoric and Rhetorical Criticism, ed. by Walter Jost and Wendy Olmsted (Oxford: Blackwell, 2004), pp. xv–xvi (p. xv). 8. Quest/Thaang, dir. -
Gener- Ations of Queer
MARCH 12 TO JUNE 28, 2014 GENER- ATIONS Robert Flack GENERATIONSOF QUEEREllsha Lim ROBERT FLACK | JOHN GREYSONJohn | ELISHA Greyson LIM | KILEY MAY OF QUEERKiley May Curated By: MARCH 12 to Lisa Deanne JUNE 28, 2014 SmithCURATED BY: LISA DEANNE SMITH ONSITE [at] OCAD U ONSITE [at] “My father Generations of Queer Generations 2 died on 3 September 3, 2012. He was 74 years old and a gay man.” John Greyson, Perils of Pedagogy (video still), 1984 My father died on September 3, 2012. He was 74 years old and a gay man. The following June, my sister and I spent a weekend going through my dad’s belongings. As we decided what to do with his leather pants and cap I thought about the queer community and how it has changed since my father came out in the 1970s. Back then, it wasn’t easy to be a gay man or a gay father but it was possible — barely. It had only been legal to participate in consensual homosexual acts in Canada since 1969, although George Klippert was arrested in the Northwest Territories just before the law changed as “incurably homosexual” and a dangerous sexual offender for admitting to having consensual homosexual sex with four separate adult men.1 He was not released from Canadian jail until ONSITE [at] OCAD U ONSITE [at] June 1971. I was six years old at the time and had no idea how brave my father was to publicly be who he was. of Queer Generations Through my father I learned there were alternative lifestyles to explore as the mainstream didn’t seem to fit either of us well. -
UAAC Conference.Pdf
Friday Session 1 : Room uaac-aauc1 : KC 103 2017 Conference of the Universities Art Association of Canada Congrès 2017 de l’Association d’art des universités du Canada October 12–15 octobre, 2017 Banff Centre for Arts and Creativity uaac-aauc.com UAAC - AAUC Conference 2017 October 12-15, 2017 Banff Centre for Arts and Creativity 1 Welcome to the conference The experience of conference-going is one of being in the moment: for a few days, we forget the quotidian pressures that crowd our lives, giving ourselves over to the thrill of being with people who share our passions and vocations. And having Banff as the setting just heightens the delight: in the most astonishingly picturesque way possible, it makes the separation from everyday life both figurative and literal. Incredibly, the members of the Universities Art Association of Canada have been getting together like this for five decades—2017 is the fifteenth anniversary of the first UAAC conference, held at Queen’s University and organized around the theme of “The Arts and the University.” So it’s fitting that we should reflect on what’s happened in that time: to the arts, to universities, to our geographical, political and cultural contexts. Certainly David Garneau’s keynote presentation, “Indian Agents: Indigenous Artists as Non-State Actors,” will provide a crucial opportunity for that, but there will be other occasions as well and I hope you will find the experience productive and invigorating. I want to thank the organizers for their hard work in bringing this conference together. Thanks also to the programming committee for their great work with the difficult task of reviewing session proposals. -
Six Crises Matthew Hays, Thomas Waugh
Six Crises Matthew Hays, Thomas Waugh Cinema Journal, Volume 53, Number 2, Winter 2014, pp. 126-132 (Article) Published by Michigan Publishing DOI: https://doi.org/10.1353/cj.2014.0012 For additional information about this article https://muse.jhu.edu/article/535711 [ Access provided at 3 Oct 2021 14:26 GMT with no institutional affiliation ] Cinema Journal 53 | No. 2 | Winter 2014 and—perhaps most risky of all—his students, that his own sissiness will not only be unrepressed but also indulged, displayed, and fully performed? The Wizard of Oz’s great trick—a scam, of course—toward the end of the film is to simply bestow superficial symbols for the possession of a brain, a heart, and courage upon Scarecrow, Tin Man, and Cowardly Lion. We are meant to understand from key moments in the narrative that only they believe they lack these qualities, which they have in fact possessed all along. Alex does not otherwise discuss this major element of the story (except insofar as their particular rewards link to Dorothy’s more complex de- sire for her lost “home”), and, again, despite admitting his early, ambivalent identifica- tion with the sissy Lion, Alex was not bold (or arrogant) enough to assert about himself what I want to emphatically affirm: like the figure who he first thought was a shameful role model but only later a figure in whom he could take pride (and what better figure for “gay pride” than a lion with a perm?), Alex always possessed great courage, even if he could not recognize this in himself or admit that this, too, could have been a source of his close identification with the (anything but) Cowardly Lion.