Nightspots #1085 • January 23, 2013
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Universidade Federal Do Rio De Janeiro – Ufrj Escola De Comunicação Programa De Pós-Graduação Em Artes Da Cena
UNIVERSIDADE FEDERAL DO RIO DE JANEIRO – UFRJ ESCOLA DE COMUNICAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO EM ARTES DA CENA – PPGAC NÍVEL MESTRADO MARIA LUCAS PEREIRA VALENTIM DO CÍLIO A NAVALHA: montação na cena carioca Texto apresentado para qualificação no Programa de Pós-Graduação em Artes da Cena da Universidade Federal do Rio de Janeiro, como requisito parcial para obtenção do título de mestre. Orientador: Prof. Dr. Manoel Silvestre Friques Rio de Janeiro 2019 2 Maria Lucas Pereira Valentim DO CÍLIO A NAVALHA: montação na cena carioca Aprovada em: 23/12/2019 Aprovada por: Prof. Dr. Manoel Silvestre Friques (orientador) Prof. Dr. Samuel Sampaio Abrantes (EBA/UFRJ) Prof. Dr. Caio Arnizaut Riscado (ECO/UFRJ) Prof. Dra. Jaqueline Gomes de Jesus (IFRJ) 3 VALENTIM, Maria Lucas Pereira. Do Cílio á Navalha: montação na cena carioca / Maria Lucas Pereira Valentim-- Rio de Janeiro: UFRJ/ECO, 2019. 161 f. Dissertação (Mestrado em Artes da Cena) – Universidade Federal do Rio de Janeiro, Escola de Comunicação, 2019. Orientador Manoel Silvestre Friques. 1. Performance. 2. Questões de Gênero. 3. Drag Queen. 4. Montação. I. FRIQUES, Manoel Silvestre. II. ECO/UFRJ III. Artes da Cena IV. Do Cílio á Navalha 4 Figura 1: Capa Dissertação, realizada pela própria autora. 5 O século XXI é um século estético. Na história, há eras da razão e eras do espetáculo, e é importante saber em que era você está. Nossa América, nossa internet não é a Atenas antiga. É Roma. E seu problema é que você pensa que está no fórum quando está realmente no circo. (Natalie Wynn, 2018) 6 Resumo Esta pesquisa pretende, a partir da análise de distintas práticas de “montação”, compreendê-las e relacioná-las a fazeres que buscam fugir do binarismo de gênero vigente em nossa sociedade. -
Drag Artist Interviews, 2019
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Southern Illinois University Edwardsville Southern Illinois University Edwardsville SPARK SIUE Faculty Research, Scholarship, and Creative Activity 2020 Drag Artist Interviews, 2019 Ezra Temko [email protected] Adam Loesch SIUE, [email protected] Follow this and additional works at: https://spark.siue.edu/siue_fac Part of the Gender and Sexuality Commons, Lesbian, Gay, Bisexual, and Transgender Studies Commons, Other Feminist, Gender, and Sexuality Studies Commons, Other Theatre and Performance Studies Commons, and the Sociology of Culture Commons Recommended Citation Temko, Ezra, Adam Loesch, et al. 2020. “Drag Artist Interviews, 2019.” Sociology of Drag, Southern Illinois University Edwardsville. Spring. Available URL (http://www.ezratemko.com/drag/interviewtranscripts/). This Article is brought to you for free and open access by SPARK. It has been accepted for inclusion in SIUE Faculty Research, Scholarship, and Creative Activity by an authorized administrator of SPARK. For more information, please contact [email protected]. Drag Artist Interviews, 2019 To cite this dataset as a whole, the following reference is recommended: Temko, Ezra, Adam Loesch, et al. 2020. “Drag Artist Interviews, 2019.” Sociology of Drag, Southern Illinois University Edwardsville. Spring. Available URL (http://www.ezratemko.com/drag/interviewtranscripts/). To cite individual interviews, see the recommended reference(s) at the top of the particular transcript(s). Interview -
A Killjoy's Introduction to Religion
Buzzsprout MY PODCASTS MY PROFILE HELP LOG OUT Keeping It 101: A Killjoy's Introduction to Religion Episodes Players Website Directories Resources Podcast Settings Stats Back to Episode Transcript Export Done, Back to Episode Episode: Extracurriculars: Ru-ligion Ru-vealed! the T on Religion & Drag Race Last Saved 14 minutes ago. Ilyse Keeping It 101: A Killjoy's Introd… This is Keeping it 101, a killjoy's introduction to religion podcast. Extracurriculars: Ru-ligion Ru-vealed! the T on Religion & Drag Race Megan What's up nerds? Share Info 00:00 | 59:11 Ilyse Hi. Hello. I'm Ilyse Morgenstein Fuerst a professional and professorial killjoy living, Speakers working, and raising killjoys on the traditional and ancestral lands of the Abenaki Ilyse people. I'm a scholar of Islam, imperialism, racial ization of Muslims and the history of Megan religion Located at the University of Vermont. RPDR Megan Simpsons Hi. Hello. I'm Megan Goodwin, the other unapologetic feminist killjoy on keeping at ADD SPEAKER 101 Broadcasting. Get it From the Land of the Wabenaki Confederacy, the Abenaki and the Aucocisco Peoples. I'm a scholar of gender, sexuality, white supremacy, minority religions, politics and America, located at Northeastern University--slash currently, my couch--and I coordinate Sacred Writes, public scholarship on religion, a Luce funded project that helps scholars and nerds like yourself share their expertise with folks who don't talk and study and think about religion all the time. Megan Hey, it's an extracurricular episode. Schools fun and all, but it's after school when the magic of learning really happens. -
The History and Representation of Drag in Popular Culture; How We Got to Rupaul
MASARYK UNIVERSITY FACULTY OF ARTS The History and Representation of Drag in Popular Culture; How We Got to RuPaul Bachelor's thesis MICHAELA SEVEROVÄ Supervisor: Jeffrey Alan Vanderziel, B.A. Department of English and American Studies English Language and Literature Brno 2021 MUNI ARTS THE HISTORY AND REPRESENTATION OF DRAG IN POPULAR CULTURE; HOW WE GOT TO RUPAUL Bibliographic record Author: Michaela Severovä Faculty of Arts Masaryk University Title of Thesis: The History and Representation of Drag in Popular Culture; How We Got to RuPaul Degree Program: English Language and Literature Supervisor: Jeffrey Alan Vanderziel, B.A. Year: 2021 Number of Pages: 72 Keywords: drag queens, RuPauVs Drag Race, drag, LGBTQ+, representation, queer culture, sexuality 2 THE HISTORY AND REPRESENTATION OF DRAG IN POPULAR CULTURE; HOW WE GOT TO RUPAUL Abstract This bachelor thesis deals with drag and its representation in popular culture, focus• ing on RuPaul's Drag Race. It analyses the representation of drag by explaining some basic terms and the study of the history of drag. It then analyses the evolution of the representation of drag queens in movies and shows. The main focus of this thesis is the American TV show RuPaul's Drag Race and how it changed the portrayal of drag and the LGBTQ+ community in popular culture. The thesis questions if the show is as progressive and diverse as it proclaims to be and if it shows the authentic image of drag culture. 3 THE HISTORY AND REPRESENTATION OF DRAG IN POPULAR CULTURE; HOW WE GOT TO RUPAUL Declaration I hereby declare that this thesis with title The History and Representation of Drag in Popular Culture; How We Got to RuPaul I submit for assessment is entirely my own work and has not been taken from the work of others save to the extent that such work has been cited and acknowledged within the text of my thesis. -
“It's Not Personal, It's Drag”: the Sassy Politics of Rupaul's Drag Race
Felipe González Silva 2078621G MLitt Film and Television Studies Dissertation – September 2015 “It’s Not Personal, It’s Drag”: The Sassy Politics of RuPaul’s Drag Race Supervised by Professor Karen Lury University of Glasgow Word count: 14,840 Beneficiario COLFUTURO 2014 Abstract After the success of reality competition shows such as Project Runway and America’s Next Top Model in the United States, RuPaul’s Drag Race reached the small screen to be the first TV programme of its kind to feature drag queens. Through textual analysis and theories of queer and feminist studies, this thesis joins the fundamental debates about drag and its role in society. With these debates as a starting point, this thesis is dedicated to determining the position of Drag Race within the tension between gay politics and queer politics that lies in the programme’s construction of what drag is supposed to be. By focusing on the relation of masculinity and femininity in drag, and on the role of sleaziness in drag, this thesis argues that RuPaul’s Drag Race refuses to be located unequivocally as a project of either gay or queer politics. This reading does not only propose an innovative take on the programme but it also manages to further problematise the distinction between the two “kinds” of politics. Key words: RuPaul’s Drag Race, drag, gay politics, queer politics, femininity, masculinity, sleaziness, gender, race ii Acknowledgements I would like to show gratitude to my supervisor, Professor Karen Lury. Her impressive knowledge and sensibility about television and academia in general, along with her commitment to my project, helped me develop this dissertation successfully. -
Rupaul's Drag Race from Screens To
‘Tens, Tens, Tens Across the Board’: Representation, Remuneration, and Repercussion – RuPaul’s Drag Race from Screens to Streets Max Mehran A Thesis in The Mel Hoppenheim School of Cinema Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Film Studies) at Concordia University Montréal, Quebec, Canada January 2020 Ó Max Mehran, 2020 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Max Mehran Entitled: ‘Tens, Tens, Tens Across the Board’: Representation, Remuneration, and Repercussion – RuPaul’s Drag Race from Screens to Streets and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Film Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: ________________________________ Chair Luca Caminati ________________________________Examiner Haidee Wasson ________________________________Examiner Glyn Davis ________________________________Supervisor Kay Dickinson Approved by ________________________ Graduate Program Director Luca Caminati ________________________ Dean of Faculty Rebecca Duclos Date: January 20th, 2020 iii ABSTRACT ‘Tens, Tens, Tens Across the Board’: Representation, Remuneration, and Repercussion – RuPaul’s Drag Race from Screens to Streets Max Mehran Since its inception, RuPaul’s Drag Race (Drag Race) (2009-) has pitted drag queens against each other in a series of challenges testing acting, singing, and sewing skills. Drag Race continues to become more profitable and successful by the year and arguably shapes cultural ideas of queer performances in manifold ways. This project investigates the impacts of exploitative labour practices that emerge from the show, the commodification of drag when represented on screen, and how the show influences drag and queer performances off screen. -
Drag Queens in Cinema and Television
Vanja Ødegård Drag Queens in Cinema and Television: The Influence of Mainstream Media on a Subversive Artform Master’s thesis in Film Studies Department of Art and Media Studies, NTNU Trondheim, 2016 I wish to give a big thanks to my advisor Aud Sissel Hoel for all her encouragement and patience, as well as a positive attitude and great advice along the way. Also a thank you to Inger Malene Nausthaug, who has always been most helpful during this long process. Thank you to my family, especially my parents who encouraged me to finish what I had started. Thank you to my two friends, Atli Bjarnasson and Mads Wølner Voss for helping me fine tune everything and keeping my spirits high when I was feeling low. Vanja Ødegård, Oslo, Desember 2016 2 Index: Introduction……………………………………………………………………………..…… 5 CHAPTER 1: Drag and queer theory…………………………………………………….…9 The history of queer theory and LGBT history and activism……………………..10 Queer representation in Film and Television……………………………….……..12 Definition of camp and different views of the term……………………………….16 Definition of drag………………………………………………………………….…19 The heteronormativity of queer culture………………………………………..…..23 Using the subversive nature of drag to cover conservative values………….….…24 The financial gain of queer film and television and marketing strategies…….….28 The social position of drag queens in the gay male culture………………………..30 CHAPTER 2: Reality TV as genre…………………………………………………………34 Subgenres…………………………………………………………………...………..39 Reality television as social experiments………………………………..…………..40 Narrative -
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. -
RELIGIOUS “REALNESS” a Consideration of Disparate Subjectivity Via “Rupauline Drag” and the House of Labeija
Syracuse University SURFACE Theses - ALL May 2019 CATEGORY IS: RELIGIOUS “REALNESS” A Consideration of Disparate Subjectivity via “RuPauline Drag” and the House of LaBeija Joss Rae Willsbrough Syracuse University Follow this and additional works at: https://surface.syr.edu/thesis Part of the Arts and Humanities Commons Recommended Citation Willsbrough, Joss Rae, "CATEGORY IS: RELIGIOUS “REALNESS” A Consideration of Disparate Subjectivity via “RuPauline Drag” and the House of LaBeija" (2019). Theses - ALL. 330. https://surface.syr.edu/thesis/330 This Thesis is brought to you for free and open access by SURFACE. It has been accepted for inclusion in Theses - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. ABSTRACT The project considers the disparity between two case studies of “drag:” 1) “RuPauline drag” (RuPaul’s Drag Race, RuPaul, and affiliated properties), and 2) the House of LaBeija as a microcosm of ballroom drag, an international phenomenon comprised predominantly by queer and trans people of color (QTPOC) competing in self-hosted “balls.” These “cases” are assessed as ideal texts, that is, ideal types (heuristic and reductive) which are interpreted as texts (via hermeneutical methodology) in hopes of comparing the cases for the subjectivities they foster and the orientations they promulgate. This work begins with a comparison of the “cases” via the settings in which they occur, contrasting their relationship to and deployment of race, gender, class, and sex(uality), while the latter half examines their practices and professed values, via performance, ritual, kinship, and fantasy, for the orientations they create and sustain. Taken together, the comparison of these “cases” aims to resist the flat, cisgender-heterosexual-normative reading of “drag” as a homogenous practice and insists that the demarcation of certain subjects as “religious” further marginalizes and invalidates people and communities for whom drag holds an ultimate importance. -
30Th Anniversary • 1 Welcome Letter
30TH ANNIVERSARY • www.hglcf.org 1 WELCOME LETTER Welcome to the 30th Annual Honolulu Rainbow Film Festival Meet the filmmakers, stars and mingle as we celebrate this year’s films. ELCOME TO THE 30TH ANNUAL HONOLU- Hawai‘i’s elite local film creators and more! LU RAINBOW FILM FESTIVAL (#HRFF30) Get your All-Access Festival Pass now at hglcf.org presented by the Bank of Hawaii to ensure you don’t miss any of the once in a lifetime W Foundation; legacy sponsor Hula’s Bar film screenings! & Lei Stand; platinum And a quick, personal shout-out to sponsors Hawai’i Tourism Authority, Ha- our HGLCF President Walter Kinoshita, waiian Airlines, HONOLULU Magazine Richard Kuwada (Festival Programming and Honolulu Museum of Art; and Red “We have Director) and Andrea Krauss (Festival Carpet Gala venue and hospitality spon- our most Programming Assistant), who reviewed sor ‘Alohilani Resort! over 143 feature and 204 short films to The Honolulu Gay & Lesbian Cultur- colorful ensure our audiences see only the best of al Foundation (HGLCF) and #HRFF30 the best in LGBTQ Team are proud to continue to elevate and fierce film and enter- and enhance the legacy of being one of the tainment at Doris longest-running and beloved LGBTQ film delegates Duke Theatre. festivals in the world. for you, Got your All-Ac- In honor of our big 3-0 birthday, we cess Festival Pass? have our most colorful and fierce del- Hawai‘i!” YAS! Now get ready egates (pg. 28) for you, Hawai‘i! From for the ultimate RuPaul’s Drag Race All Stars, Shangela Honolulu Rainbow and Gia Gunn will be here, along with HRFF alum and Film Festival experience. -
Drag Artist Interviews, 2019
Southern Illinois University Edwardsville SPARK SIUE Faculty Research, Scholarship, and Creative Activity 2020 Drag Artist Interviews, 2019 Ezra Temko [email protected] Adam Loesch SIUE, [email protected] Follow this and additional works at: https://spark.siue.edu/siue_fac Part of the Gender and Sexuality Commons, Lesbian, Gay, Bisexual, and Transgender Studies Commons, Other Feminist, Gender, and Sexuality Studies Commons, Other Theatre and Performance Studies Commons, and the Sociology of Culture Commons Recommended Citation Temko, Ezra, Adam Loesch, et al. 2020. “Drag Artist Interviews, 2019.” Sociology of Drag, Southern Illinois University Edwardsville. Spring. Available URL (http://www.ezratemko.com/drag/interviewtranscripts/). This Article is brought to you for free and open access by SPARK. It has been accepted for inclusion in SIUE Faculty Research, Scholarship, and Creative Activity by an authorized administrator of SPARK. For more information, please contact [email protected]. Drag Artist Interviews, 2019 To cite this dataset as a whole, the following reference is recommended: Temko, Ezra, Adam Loesch, et al. 2020. “Drag Artist Interviews, 2019.” Sociology of Drag, Southern Illinois University Edwardsville. Spring. Available URL (http://www.ezratemko.com/drag/interviewtranscripts/). To cite individual interviews, see the recommended reference(s) at the top of the particular transcript(s). Interview Participants Amie Vanité .......................................................................................................................................1 -
Warren Hastings Capstone Andrae Alexander 1 May 2020 Final
Warren Hastings Capstone Andrae Alexander 1 May 2020 Final Capstone Summary Drag: Live Event’s Emerging Juggernaut GE/Music Elective 4 Units, satisfies A&G GEs Learning Objectives (15 weeks) 1. 1.1: Understanding what drag is and where it comes from. a. Queer Theory b. Drag Queens vs. Transgender Women c. Origins of drag i. 80s ballroom culture in NYC ii. Paris is burning 2. 1.2: Iconic Drag figures and drag media a. Divine b. RuPaul c. the desert movie drag queen d. look up more examples 3. 1.3: How drag has recently broken through into the mainstream a. RuPaul’s Drag Race / rise of reality television b. gay rights movement c. commodication of queer identity d. the rise of MUA and makeup e. screening of one episode of rupaul’s drag race i. ensure that the class has an understanding of what drag race is ii. fun 4. 1.4: Understanding the drag beyond rupaul a. what is the drag scene like b. Bring a drag queen to class c. the daily life of a touring drag queen d. understanding, in-depth, the rigor of a drag performers life e. homework i. go to a drag show 5. (split over 2 weeks)Market potential a. DragCon: 9million dollars, 40,000 attendees b. Various successful drag queen tours i. del rio wembley ii. trixie c. Instagram success i. millions of followers d. Youtube success i. Trixie Mattel & Katya, Review with a jew e. queens make thousands of dollars per gig, specialty gig f. makeup brands i. trixie cosmetics g.