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Montage Monthly Purdue Film and Video Studies Organization Newsletter ISSUE 03 NOVEMBER 2011 this issue Spring Semester P.1 Events for FVS Students P.2 Trivia What does the movie Spider-man (2002) and the TV show Friends have in common? Hint: It is not an actor/actress. FVS Classes for Spring 2012 Do you have ideas for Trivia? Its that time of year again, FVS’rs where you pull out those plans of study and attempt Send them to [email protected] to get into all the classes you can! We’re providing you with a little cheat sheet of clas- and be featured in the Montage ses so you can see what's available this spring without having to do a lot of digging. Monthly! For the newest major/minor requirements visit the Purdue FVS page Student Productions FVS 261—Technical Video Production FVS 337—Non-linear Editing I Here at the FVSO, we like to encourage you to go out and make FVS 338—Non-linear Editing II FVS 442—Digital Film Production videos of your own. Whether it’s a FVS 450—Internship in Film/Video/Media FVS 491—Big Ten Television short film or something for a club, pick up a camera and get rolling! FVS 491—Mafia & The Movies (also ITAL 393) AD 304—Video Art EAS 106—Geosciences in the Cinema Engl 387—History of Film 1938-now Engl 396—Bad Film Ger 330—German Cinema Ital 330—Italian Cinema Ital 393—Mafia & The Movies Span 330—Spanish & Latin American Cinema Thtr 133—Survey of Acting Thtr 263—Introduction to Sound Studios For more information see course listings on MyPurdue or HERE. IFN—Lafayette Chapter Every third Thursday of the month, there are meetings for the Lafayette Chapter of the Indiana Filmmakers Network at the Goodrich Eastside 9 theater. They are FREE, open to the public (and FVS students are highly encouraged to attend) and start around 7 PM. Each month a different topic of film is presented by guest speakers and Upcoming Events people from the industry. November 2—World Film Forum “ The Official Story” For more information, please check them out on Facebook or contact Held at the West Lafayette Public Library, in the Elm and Walnut Rooms. Refreshments will Nathan Bechtold. be served from 4:45 pm; presenters will briefly introduce the films soon after ([email protected] ) 5 .pm. PLEASE NOTE THAT THE ACTUAL SCREENINGS WILL BEGIN AT 5:15 PM. November 8—IFN—Indianapolis Monthly Meeting FVSO Newsletter The November Indiana Filmmakers Network Indianapolis area meeting will be held ISSUE 03 NOVEMBER 2011 November 8th at the Hamilton 16 IMAX in Hamilton Town Center at 7PM. The meeting will feature a roundtable discussion on scriptwriting. Please join us as we share insights into the creative process. November 10 — FVS Study Abroad Callout On the evening of Thursday, November 10, a callout will be held to tell you about study abroad opportunities that are attractive to Film and Video students. We will let you know the exact time and place when they become available, but in the meantime, save the date. November 11-13—LGBT Film Festival Indianapolis - Highlighting gay/lesbian subject matter and/or characters in features, shorts, and documentaries. View more information at their Website . November 12—John Waters : This Filthy World Famous for directing films such as Hairspray, John Waters’ one-man show is a “vaudeville” act that celebrates the film career and obsessional tastes of the man William Burroughs once called “The Pope of Trash.” When: Saturday, November 12, 2011 7:00 PM – 9:30 PM. Where: Madame Walker Theatre Center 617 Indiana Ave., Indianapolis, IN 46227 Cost: $20/per person. Purdue Film & Video Studies Organization Purdue University West Lafayette, IN 47906 http://www.cla.purdue.edu/film-studies/ .

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Post-Queer Desires
Post-Queer Desires: A Contemporary Queer Discourse in Pink Flamingos MA Thesis Media Studies: Film Studies Department of Humanities Author: Sidney Adelaar Supervisor: Abe Geil June 26, 2017 Word count: 13566 1 2 Contents Introduction……………………………………………………………………………. p. 5 1. The Anti-Social Queer Desiring-Machine: Going Beyond Queer………... p. 11 1.1 Antisocial Filth……………………………………………………………... p. 12 1.2 The Queer Desiring-Machine…………………………………………… p. 15 1.3 Desiring...Poop?…………………………………………………………... p. 19 2. Celebrating a Post-Queer Utopia or Dystopia?……………………………… p. 24 2.1 A Mudgey Dystopia……………………………………………………… p. 24 2.2 A Divine Utopia……………………………………………………………. p. 27 2.3 A Happy Post-Queer Birthday, Divine!………………………………... p. 30 Conclusion……………………………………………………………………………… p. 37 Acknowledgements………………………………………………………………….. p. 40 Appendix……………………………………………………………………………….. p. 41 Bibliography……………………………………………………………………………. p. 44 Films Cited……………………………………………………………………………… p. 45 3 4 Introduction Queer cinema is a fairly recent category in cinema history. Starting around 30 years ago, during the same time in the 1980’s that queer theory became a prominent academic discipline, queer cinema seems to encompass all films that deal with gay and lesbian themes, or ‘LGBT’ to use a recent term. As these themes focus mainly on the sexuality of the characters and their struggles in a ‘straight’ world because of it, there appears to be a major centring around desires, be it sexual or something else. If a desire is not desirable in heteronormative society, ‘queer’ is the right word for it. This thesis’ main focus is this notion of queer desires. By focusing on this aspect of the queer, I will show just how these desires can shape queer cinema and provide a unique framework for the analysis of the modern queer film.
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COVER ART by JEFF KNIGHT 1 Film Festival Goer, Treasure Hunter
COVER ART BY JEFF KNIGHT 1 Film Festival Goer, Treasure Hunter There are times when we walk into a cinema knowing exactly what to expect. We know that Nicolas Cage will deliver an awesomely bad punchline after riding a motorcycle through the flaming hull of a downed jetliner, Colin Firth will make us swoon in that totally respectable way, and Meryl Streep will meryl as only Meryl can. The familiar can be a lovely warm blanket, the White Hat saving the day, and an excellent night at the movies. But there are times when we feel a bit more adventurous – times when we seek art that grabs us by the collar Emily Beck and shakes us awake. These are the times when we are treasure hunters, boldly going beyond to find something FARGO THEATRE Executive Director of inmeasureable worth. If you are craving an adventure, then you are in the right place. A film festival is a wonderful place to explore. At any given moment may see something that leaves you scratching your head OR you may discover That Film (written in Denmark, shot in Rio, starring Nobody You’ve Ever Heard Of) that speaks to you in conversation, leaves you breathless, and reminds you why you struck out into the wild in the first place. On behalf of the entire team, it is my pleasure to welcome you to the 15th annual Fargo Film Festival. We welcome you aboard and are grateful to share the journey. Thank you for coming and enjoy the show! DAN FRANCIS PHOTOGRAPHY FARGO THEATRE STAFF: FARGO THEATRE BOARD FESTIVAL COMMITTEE AND VOLUNTEERS: Emily Beck, Executive Director Greg Carlson, President
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John Waters (Writer/Director)
John Waters (Writer/Director) Born in Baltimore, MD in 1946, John Waters was drawn to movies at an early age, particularly exploitation movies with lurid ad campaigns. He subscribed to Variety at the age of twelve, absorbing the magazine's factual information and its lexicon of insider lingo. This early education would prove useful as the future director began his career giving puppet shows for children's birthday parties. As a teen-ager, Waters began making 8-mm underground movies influenced by the likes of Jean-Luc Godard, Walt Disney, Andy Warhol, Russ Meyer, Ingmar Bergman, and Herschell Gordon Lewis. Using Baltimore, which he fondly dubbed the "Hairdo Capitol of the World," as the setting for all his films, Waters assembled a cast of ensemble players, mostly native Baltimoreans and friends of long standing: Divine, David Lochary, Mary Vivian Pearce, Mink Stole and Edith Massey. Waters also established lasting relationships with key production people, such as production designer Vincent Peranio, costume designer Van Smith, and casting director Pat Moran, helping to give his films that trademark Waters "look." Waters made his first film, an 8-mm short, Hag in a Black Leather Jacket in 1964, starring Mary Vivian Pearce. Waters followed with Roman Candles in 1966, the first of his films to star Divine and Mink Stole. In 1967, he made his first 16-mm film with Eat Your Makeup, the story of a deranged governess and her lover who kidnap fashion models and force them to model themselves to death. Mondo Trasho, Waters' first feature length film, was completed in 1969 despite the fact that the production ground to a halt when the director and two actors were arrested for "participating in a misdemeanor, to wit: indecent exposure." In 1970, Waters completed what he described as his first "celluloid atrocity," Multiple Maniacs.
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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.
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AALL Spectrum / May/June 2018 / Volume 22, Number 5
MAAY/JUNE 2018ALL / VOLUME 22, NUMBER 5 Spectrum WHAT YOU NEED TO KNOW ABOUT CYBERSECURITY YOU GET MORE THAN SUPPORT. YOU GET AN ENTIRE TEAM. Your Thomson Reuters Librarian Relations Team. Tools, training, and more. We know law librarians are essential – and that the more productive you can be, the more value you can demonstrate to your organization. So we offer the services of an entire team for training, tools, and counsel to help you work more effi ciently and with even more confi dence. Professional development and training opportunities. Tools to help manage resources. Plus in-person events and educational programs designed specifi cally for your profession. And remember, we want to hear your feedback so we can keep fi nding ways to help you achieve. legalsolutions.com/librarian © 2015 Thomson Reuters S026599/11-15 Thomson Reuters and the Kinesis logo are trademarks of Thomson Reuters. S026599.indd 1 12/9/15 9:48 AM EDITOR’S NOTE CHASING TECHNOLOGY Staying Ahead of the Legal Curve s I write this, I have just returned from the American Bar Association (ABA) TECHSHOW 2018. I was lucky enough to have the opportunity to join two panels as part of the somewhat new academic track, but that was really just an excuse to hear and see rsthand what lawyers, legal tech gurus, and vendors think are the current legal technology issues and what innovations might be on the horizon. (FYI—the planning group for A the academic track did a great job. Expect even better things next year!) As rapidly as technology is changing, I oen Changes in the repository platform land- feel that I am chasing the curve trying to keep scape are addressed in “Rethinking Digital up.
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JOHN WATERS in Conversation with Paul Holdengräber in BRYANT
JOHN WATERS in Conversation with Paul Holdengräber in BRYANT PARK June 7, 2010 LIVE from the New York Public Library www.nypl.org/live ETHAN LERCHER: That was Ethan on the piano. Thank you all for coming. My name is Ethan Lercher, I’m the Director of Events for Bryant Park. We’re the hosts, but we’re not the producer. The producer is your favorite LIVE from the NYPL. It is my pleasure LIVEJohnWaters_6.7 TranscriptQUERY 1 that you’re all here. This is a great program. We’ve been trying to work with Paul and Meg for years. Paul came about 1,500 days ago, and now he is here in the park with John Waters. (applause) I wanted to tell you a little bit about what’s going in the Park. We just had the fourth of five really great classical music concerts on the other side of the park on Mondays. Please join us next week at six p.m. We’ll have a flautist, and a harpist, and a violinist. They’re actually all world-famous, and the host is Bill McGlaughlin, who you can see on and hear on the radio every night at eleven p.m. on WQXR. He’s a syndicated program master, and if you haven’t heard him, you will learn a lot about music if you listen to his music program. And we’re starting our movies in a few weeks. We have lots and lots of things. If you want to you can pick up our guide of six or seven hundred things that are going on this summer, over on the tables over there where you can also get the book by John Waters, but I think that’s not why you’re here.
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John Waters an Interview
JOHN WATERS AN INTERVIEW 32 CHAPTER 33 GAVIN BROADY JOHN WATERS, AN INTERVIEW spoke to John Waters on the phone in late June of 2010, in the gut of a seemingly bottomless New Waters is eager to own up to the good-natured falsehood of the pseudo-nihilism that constituted his early England heat wave. He was in Provincetown, I was in Vermont; we were both in our underwear. I work. “When I went around saying I wanted my work to have no socially redeeming value,” he says, “it was was naturally reluctant to admit that I’d stripped down. Waters, on the other hand, told me within always a joke. My early movies were not true exploitation movies because I was in on the joke. True exploitation the first minute. movies have no self-awareness. Nobody goes to a Russ Meyer movie to laugh, they go to jerk off. Nobody has I ever jerked off to a John Waters movie as far as I know.” “I’m actually sitting here in my boxer shorts,” he says. “If you came to see me I would put on a John Waters outfit for you. It’d be a beach outfit, but I’d dress up like John Waters for you.” Indeed, the central vein running through Waters’ work has always been fundamentally humane, an examination of outsiders struggling against the homogenizing forces of the world. His thematic territory is thus not far It is a testament to the pervasiveness of Waters’ image that when the conversation began I imagined him as removed from other iconic outsiders-gone-mainstream American directors.
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Egnerie Gay News
March 2013 October 2003 Erie Pride weekend pages 9-12 EGNErie Gay News Marriage Equality vigil March 6 from Marriage Equality for PA ‘Marriage Equality for PA is sponsoring the Light the Way to Justice Vigil at the Federal Courthouse in Erie PA on March 26 from 7 until 8:30 PM. This is not a march, a fight, or a demonstration - this is a peaceful display of solidarity and a stand for love, not hate. Make signs to hold, bring candles and help show our desire to be equal under the law. This is a grassroots movement. For more information, click the link on: www.me4pa. org. Please join us. Persad Erie starts therapy discussion group for gay men by Will Koehler, Persad Erie There is a new Gay Men’s Discussion group meeting every other week on Tuesdays from 3:30 to 5 PM at Persad Erie, 1011 W 38h St, Erie PA. (This is inside Community United Church.) The group focuses on developing skills for healthy living focusing on * Healthy relationships * Building supportive social networks Revelers at the Feb 8 “Flaming Hearts Dance” organized by * Stress management the Mercyhurst QSA. More photos of event on our website. * Managing HIV & reducing risk Photo by Mike Mahler. * Confronting discrimination * Reducing isolation * Coming out TransFamily of Erie walking team in Contact Will Koehler, LCSW to participate at March for Babies (814) 388-0195 or [email protected] by Caitlyn The TransFamily of Erie Transgender support LGBT AA meets Sundays group is sponsoring a walking team for the 2013 March “Live and Let Live” an LGBT AA meeting is for Babies taking place on April 28th at 1pm at Presque now happening every Sunday at 7 PM at Community Isle, beginning at Rainbow Gardens.
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"This Filthy World" to Edinboro
Erie’s only free, independent source for news, culture, and entertainment March 20 - April 2 / Vol. 3, No. 6 / ErieReader.com E I R E READER Legendary Filmmaker Brings "This Filthy World" to Edinboro John Waters spills on the Erie Canal, fax machines, anger, death, hitchhiking, Kardashians, and North Korea Mishol Randolph, What Madam Ruby Sees: Local Elections, Corbett's Polling Numbers, Sinnott Uncontested, Bu alo Punk Explosion! and "Pure Doctor," "Sense and Sensibility," reviewed, The Grand Opening of The Bearded Lady, Introducing: LGBT Voices and the Reader Eater, Music, Fashion, and Tech FREE 2 | Erie Reader | eriereader.com March 20, 2013 CONTENT March 20, 2013 FEATURE CULTURE 9 editors-in-Chief: John Waters 8 Brian Graham & Adam Welsh the reader eater Legendary Filmmaker Brings "This Our Mystery Food Critic Tries Breakfast Managing editor: Filthy World" to Edinboro University Ben Speggen at The Summer House Cafe Contributing editor: Cory Vaillancourt NEWS AND NOTES 12 IF We Were YoU... Contributors: 4 UPFRONT Here’s what we would do Alex Bieler Municipal Election Predictions Brennan Donnelly 14 TO-do LIst Pen Ealain 5 street Corner SOAPBoX Matthew Flowers Buffalo Punk Explosion!, Pure Doctor John Lindvay Corbett's Poll Numbers Leslie McAllister 15 THEATER Rich McCarty 6 the WaY I see It "Sense and Sensibility" Reviewed Sinnott Uncontested, New Deputy Warden Jay Stevens 17 FashION Rebecca Styn 6 Bryan Toy teCh WATCh The Street Fashionista The Return of the Digi-pet Copy editor: 18 MUsIC Alex Bieler 7 LGBt Voices New All-ages Venue "The Bearded Lady" designer: A Celebration of Erie's Diversity Burim Loshaj 19 CaLENDAR Cover design: Erie’s community calendar Burim Loshaj Photographer: 20 YoU oUGht TO KnoW Matt Kleck Mishol Randolph Interns: Anna Cipriani matching wit for wit promptly made and it was only a What makes Mishol’s story so Daniel Gennaro From the Editors -- approached his time matter of hours before we received remarkable isn’t the hardships she’s Samantha Myers with Waters more as a a Facebook message from Mary.
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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.
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Here TS Eliot Sat in 1921 Looking Onto Margate Sands
Archive of performance lectures Saturday 2nd to Saturday 9th October 10am to 6pm daily (closed Monday) Whitechapel Gallery Free, open access, no booking required. A small sound and video archive hosted by Whitchapel Gallery looking at examples of the performance lecture as a form of artistic and critical expression, and its potential to address a broad range of cultural issues and philosophical ideas. Works in the archive have been selected through an invitation to Performing Idea contributors to suggest performance lectures that they think are crucial to the definition of the form, performance lectures that are vital to the development of their own practice, and performance lectures that they have not witnessed but have longed to see. John Baldessari Sings Lewitt (1972, 13 minutes) In an ironic intersection of two systems — arcane theoretical discourse and popular music — Baldessari sings a tract by Minimalist artist Sol LeWitt. Introducing this performance by noting that "these sentences have been hidden too long in exhibition catalogues," Baldessari sings Lewitt's forty-five-point tract on Conceptual Art to the tunes of The Star-Spangled Banner and Heaven, among other songs. Baldessari's witty "art aria" functions as a meta-conceptual exercise. www.baldessari.org/ Jérôme Bel The Last Performance (2004, 80 minutes) Hebbel am Ufer Theatre Berlin. Production R.B. Jerome Bel (Paris) “Invited at the same time by the Hebbel Theater in Berlin, the Tanz- Quartier in Vienna and the Centre National de la Danse in Paris to perform The last performance (1998) I decided, instead of presenting the piece, to make a lecture about its issues.
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Audienc E G Uide
AUDIENCE GUIDE 2018 - 2019 | Our 59th Season | Issue 2 Issue | Season 59th Our 2019 | November 16 - December 30, 2018 Music by Marc Shaiman Lyrics by Marc Shaiman and Scott Wittman Book by Thomas Meehan and Mark O’Donnell IN THIS ISSUE Authors and composer Hairspray is a bold, beloved blockbuster dancer on The Corny Collins Show, a John Waters musical with depth and heart. It takes on local TV dance show similar to Synopsis important community issues with wit, a American Bandstand. great score, a diverse cast and high- She uses her newfound power to energy dancing. It addresses the need integrate the TV network and win the for racial harmony while making a affection of the town’s heartthrob. strong case against bullying. It also Hairspray reminds us of the importance offers a positive message about being of individuality and the acceptance of yourself and owning the talents you one another: a timely thought to share possess. today. Hairspray is based on the 1988 movie Hairspray is a story full of youthful created by legendary, underground film- enthusiasm and optimism that change is maker John Waters, who called it “a possible and that there is brighter future comedy about integration.” The for everyone. At the heart of this Broadway adaptation won eight Tony hilarious, yet socially important show is Awards in 2003, including Best Musical. an ensemble of teenagers. Skylight is It features music by Marc Shaiman, who proud to present 17 area junior high and also wrote lyrics with Scott Wittman, high school students performing in our with a book by Mark O’Donnell and production.
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