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Affective Economies of Queer & Feminist Film

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Affective Economies of Queer & Feminist Film View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by YorkSpace NETWORKS OF FEELING: AFFECTIVE ECONOMIES OF QUEER & FEMINIST FILM FESTIVALS ON THE CANADIAN PRAIRIES JONATHAN PETRYCHYN A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN COMMUNICATION & CULTURE YORK UNIVERSITY TORONTO, ONTARIO August 2019 Ó Jonathan Petrychyn, 2019 ii ABSTRACT Film festivaLs are fulL of feeLing. As complex institutions, affective labour underpins the work of prograMMers and festivaL staff. As public events, fiLMs screened at festivaLs can be weLL- received pictures, poorly-reviewed flops, or events met with protest, controversy, and outbursts of public eMotion. The reLationship between these different types of eMotion, affect, and feeLing is a complex yet an often-overlooked aspect of fiLM festivaLs. This dissertation deveLops a theory of affect through the history of the queer and feMinist fiLM festivaLs on the Canadian Prairies from 1985 to 2005. Drawing on the vast colLection of public and private archives avaiLable on these festivaLs, as weLL as interviews and ethnography, I attend to the ways the region’s network of fiLM festivaLs have produced and have been produced by affect and how affects of dis/interest, disgust, shaMe, and happiness circulate within fiLM festivaL networks. The circulation and production of different affects at various points in these festivaL histories have had profound effects on how these festivaLs organize—from how organizers reLate to each other and to their publics, to the kinds of funding they accept and the politics of their prograMMing. I consider the ways in which these affects circulate and how such organizationaL and discursive affects underpin the network of reLationships between gay, lesbian, women’s, and raciaLized bodies within and around fiLM festivaLs. I further consider the role lesbians and feMinists of colour had in organizing this network of fiLM festivaLs, the place of public and private funding and state institutions like the NFB’s Studio D, and the intersections between queer and feMinist fiLM festivaLs and human rights activisM. I argue that complex and diverse economies of affect structure fiLM festivaL institutions and networks. These affective economies can be most cLearly traced through fiLM festivaL archives. iii DEDICATION For WiLLiaM NeiL Richards (1949-2018) and Catherine Diane Johnston (1945-2015) iv ACKNOWLEDGMENTS Throughout the course of writing any large body of work, you are inevitably indebted to the heLp and support of more people than you can possibly reMeMber or keep track of. Early on in the process I tried to keep a running list of everyone who ever heLped me get my hands on an eLusive document, pointed me in the right direction, provided mentorship, or otherwise supported this project in some way. This dissertation would not have been possible without: Marusya Bociurkiw and her generous, radicaL, feMinist, and colLaborative feedback throughout aLL stages of this project, and Anne MacLennan, John McCulLough, and Markus Reisenleitner for their support in guiding this project from its early stages during the quaLifying exaMs through to the document you have in your hands today. My externaL exaMiner, WiLL Straw, and my internaL exaMiner, Nick Mulé. Paul Moore, Janine Marchessault, and Ger ZieLinski for engaging in conversations that sprouted some of the earliest seeds of this project. Christine Charmbury at the ProvinciaL Archives of Saskatchewan, Dana Turgeon and MeLissa Munroe at the City of Regina Archives, NataLie VieLfaure at the University of Manitoba Archives and SpeciaL ColLections, IdeLLe TaLbot and the staff at the ProvinciaL Archives of Manitoba, the staff and volunteers at the Canadian Lesbian and Gay Archives (now The Arquives), the GLenbow Museum and Archives, the Manitoba LegisLative Library, the University of Manitoba Fine Arts and Architecture Library, and the City of Edmonton Archives. Cat Bowser, who was my Winnipeg-based research assistant for an afternoon. ALL of the comMunity activists, festivaL organizers, and archivists across the prairies who provided me with access to numerous private colLections and documents: Gary Varro, Kevin ALLen, JaMes DeMers, NeiL Richards, David Wyatt, and Shawna DeMpsey. v My friends and colLeagues who provided feedback on early drafts of chapters presented at conferences and in numerous formaL and informaL writing support groups: NataLia Androsova, Dan Browne, Diane Burgess, Antoine DaMiens, Meera GovindasaMy, Steve Jankowski, Caroline KLiMek, ALysse Kushinski, Mary Grace Lao, Skadi Loist, Andrew MerriLL, Claudia Sicondolfo, Kirsten Stevens, Tom Waugh, and Jessica Whitehead. The artists, acadeMics, and comMunity activists who made up the Studio for Media ActivisM and CriticaL Thought over the five years I have been involved, especiaLLy ELiza Chandler, who has been graciousLy keeping a research poster about this dissertation in her office for more years than I care to admit. The financiaL support of the SociaL Sciences and Humanities Research CounciL, the Susan Mann Dissertation Scholarship from York University, and the T. GLendenning HaMiLton Research Grant from the University of Manitoba, and aLL of the various traveL, conference, and research grants (both big and sMaLL) provided by York University, Canadian Union of Public EMployees LocaL 3903, the Canadian Media Research Consortium, and the FiLM Studies Association of Canada. My parents, TiM and Maggie, my brother Colin and his partner Hayley, my youngest brother Carter and his partner Victoria, as weLL as their dogs Sasha, Hyde, and Juno for their Laughter, levity, food and drink whenever I would come home to visit during this long process. And finaLLy, Edward, who moved aLL the way from Saskatchewan to Newfoundland and then to Toronto to folLow me on this graduate school journey. His support as a historian, my partner, and my best friend has meant the world to me. vi TABLE OF CONTENTS ABSTRACT ii DEDICATION iii ACKNOWLEDGMENTS iv TABLE OF CONTENTS vi LIST OF TABLES viii LIST OF ABBREVIATIONS ix CHAPTER 1: INTRODUCTION: AFFECT, ECONOMY, ARCHIVE 1 Buzz and the Affective Economies of Film Festivals 9 Archives and Feelings 13 Comparative Festival History as Contact Zone 17 CHAPTER 2: FEELING THROUGH CINEMA: LITERATURE REVIEW & METHODOLOGY 23 The Affective Turn 26 Audiences, Spectators, and Bodies of Affect in Cinema and Media Studies 30 Cinema Institutions and the Structures of Affect 39 Feeling Through Structure: A Piecemeal Methodology 47 CHAPTER 3: RAISING CONSCIOUSNESS, FORMING MOVEMENTS: POST-WAR QUEER AND FEMINIST CINEMA & ACTIVISM IN CANADA 56 Gay and Lesbian Rights and Film Exhibition on the Prairies, 1973-1980 59 Studio D and Second-Wave Feminist of Colour Activism, 1967-1989 67 The AIDS Crisis and The École Polytechnique Massacre 71 CHAPTER 4: MARGINAL EPHEMERA: DIS/INTEREST, FEMINIST FILM FESTIVALS IN THE QUEER ARCHIVE, AND QUEER FILM FESTIVALS IN THE FEMINIST ARCHIVE 74 Winnipeg: Disinterest and Lesbian Exclusion 78 Calgary: Intersectionality as Interest 93 Conclusion 99 CHAPTER 5: COMMUNITY AND PORNOGRAPHY: SEX PANICS, DISGUST, AND FUNDING 101 Sticky Sex 103 “Offensive, Injurious, and Insulting”: Grants from Ministries 106 Serious, Not Frivolous: Arts Councils and Crown Corporations 111 Private, Invisible, Obscene: Public Space 118 Conclusion 125 CHAPTER 6: WE’RE TALKING RIGHTS: HUMAN RIGHTS, SHAME, AND THE STATE 127 Rights Talk and the Disavowal of Shame 129 vii Talk Like the State: Counterparts and the Manitoba Human Rights Code 136 Federal Encounters: Fairy Tales’s Claims to Individual Freedom 143 The Homophobic City and the City of Regina’s Procedure Bylaw 149 Conclusion 154 CHAPTER 7: RISKY BUSINESS: HAPPY QUEERS AND THE HETEROSEXUALIZATION OF PROGRAMMING 156 Happy Economies and Market Aesthetics 159 Beige Dollars at Fairy Tales 164 Who Still Needs a Queer Film Festival?: Reel Pride’s Ontological Crisis 173 Risky Business: Regina’s Queer City Cinema 176 Conclusion: Happiness and Critical Nostalgia 181 CHAPTER 8: CONCLUSION: AFFECT, ACTIVISM, AND QUEER AND FEMINIST FILM FESTIVALS AFTER 2005 184 Histories of Queer and Feminist Film Festivals on the Canadian Prairies, 1985-2005 190 Queer Film Festivals After 2005 195 Recommendations for Contemporary Queer Film Festivals 202 BIBLIOGRAPHY 206 APPENDIX A: EARLY SCREENING ACTIVITY OF THE WINNIPEG GAY AND LESBIAN FILM SOCIETY, 1985-1986 222 APPENDIX B: INFORMED CONSENT FORM 224 APPENDIX C: SAMPLE INTERVIEW QUESTIONS 227 viii LIST OF TABLES Table 1. Gay versus lesbian prograMMing at Counterparts, 1987-1994 88 ix LIST OF ABBREVIATIONS ASK Association for SociaL KnowLedge AVC ALberta VocationaL ColLege CSIF CaLgary Society of Independent FiLMMakers CSWAC CaLgary Status of Women Action ComMittee GALOC Gays and Lesbians on CaMpus GATE Gay ALLiance Toward EquaLity GAU Gay AcadeMic Union GCCS Gay ComMunity Centre of Saskatoon GIRC Gay Information and Resources CaLgary GLCSA Gay and Lesbian ComMunity Services Association GFE Gays for EquaLity IRPA IndividuaL Rights Protection Act LISO Lobby for the IncLusion of SexuaL Orientation in the Human Rights Act MCC Metropolitan ComMunity Church NAC NationaL Action ComMittee on the Status of Women NFB NationaL FiLM Board of Canada NGRC NationaL Gay Rights CoaLition RCSW RoyaL ComMission on the Status of Women SGC Saskatchewan Gay CoaLition WCC Women of Colour ColLective WGLFS Winnipeg Gay and Lesbian FiLM Society 1 CHAPTER 1 INTRODUCTION: AFFECT, ECONOMY, ARCHIVE On the warm sumMer evening of June 19, 1985, 100 gay men and lesbians shuffled into Winnipeg’s CineMa Main. On the schedule that night were two fiLMs: the feature-Length Fox and His Friends (Dir. Rainer Werner Fassbinder, West Germany, 1975), and the short fiLM David Roche Talks To You About Love (Dir. JereMy Podeswa, Canada, 1983). Before the fiLMs began, a group of gay men circulated a note to its audience. The note read: We are a recentLy formed group, frustrated with the lack of choice in fiLMs with gay- reLated theMes at comMerciaL theatres. Therefore, we took it upon ourseLves to research, and try to obtain fiLMs not normaLLy screened in Winnipeg.
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