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David Lynch : À Propos De Blue Velvet
Document généré le 25 sept. 2021 06:06 Séquences La revue de cinéma David Lynch À propos de Blue Velvet André Caron et Martin Girard Numéro 128, février 1987 URI : https://id.erudit.org/iderudit/50738ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer ce document Caron, A. & Girard, M. (1987). David Lynch : à propos de Blue Velvet. Séquences, (128), 44–48. Tous droits réservés © La revue Séquences Inc., 1987 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ INTERVIEW DA VÊD L YNCH A PROPOS DE BLUE VELVET Aucun mot ne peut décrire exactement l'impression que donne David Lynch en entrevue. Il semble aussi mystérieux que ses films, û'Eraserhead à Dune, en passant par The Elephant Man. Il faut avouer cependant que le bar Méridien n'est sûrement pas le meilleur endroit du monde pour un entretien. Nous étions ennuyés; un autre journaliste patientait nerveusement en discutant avec l'agent de Lynch, des gens circulaient et bavardaient. Nous fûmes interrompus à deux reprises. -
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 -
Lessons in Neoliberal Survival from Rupaul's Drag Race
Journal of International Women's Studies Volume 21 Issue 3 Feminist Comforts and Considerations amidst a Global Pandemic: New Writings in Feminist and Women’s Studies—Winning and Article 3 Short-listed Entries from the 2020 Feminist Studies Association’s (FSA) Annual Student Essay Competition May 2020 Postfeminist Hegemony in a Precarious World: Lessons in Neoliberal Survival from RuPaul’s Drag Race Phoebe Chetwynd Follow this and additional works at: https://vc.bridgew.edu/jiws Part of the Women's Studies Commons Recommended Citation Chetwynd, Phoebe (2020). Postfeminist Hegemony in a Precarious World: Lessons in Neoliberal Survival from RuPaul’s Drag Race. Journal of International Women's Studies, 21(3), 22-35. Available at: https://vc.bridgew.edu/jiws/vol21/iss3/3 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. This journal and its contents may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. ©2020 Journal of International Women’s Studies. Postfeminist Hegemony in a Precarious World: Lessons in Neoliberal Survival from RuPaul’s Drag Race By Phoebe Chetwynd1 Abstract The popularity of the reality television show RuPaul’s Drag Race is often framed as evidence of Western societies’ increasing tolerance towards queer identities. This paper instead considers the ideological cost of this mainstream success, arguing that the show does not successfully challenge dominant heteronormative values. In light of Rosalind Gill’s work on postfeminism, it will be argued that the show’s format calls upon contestants (and viewers) to conform to a postfeminist ideal that valorises normative femininity and reaffirms the gender binary. -
EL AMANTE I Escuela Crítica De Cine
EL AMANTE I Escuela Crítica de cine El Amante I Escuela es una carrera de dos años, organizada en cuatro cuatrimestres, dictada por los redactores de El Amante. O, si se lo quiere tomar menos orgánicamente, una serie de cursos sobre cine, un lugar de conversación, la posibilidad de encontrarse y aprender discutiendo. A su vez, cada materia -tanto de primero como de segundo año- podrá ser cursada independientemente a modo de seminario, con una tarifa diferencial. 17 DE AGOSTO MATERIAS DE PRIMER AÑO COM\ENZAN Teorías del cine 2 LAS CLASES Historia del cine 2: Otras industrias Crítica y críticos 1 Cómicos y comedia Cine norteamericano clásico: Géneros y autores Medios y escritura 1 MATERIAS DE SEGUNDO AÑO Documentales Los géneros marginales Nuevo cine argentino Historia del cine 4: El cine independiente Autores fuera de Hollywood Medios y escritura 2 Director Gustavo Noriega Profesores Diego Brodersen, Leonardo D'Espósito, Marcela Gamberini, Santiago García, Gustavo Noriega, Javier Porta Fouz, Eduardo Rojas, Diego Trerotola, Juan Villegas. Especial robots 2 Introducción Maldición,¿todos los números deben tener 4 Robby the Robot tapa?Cansa tener que definir todos los me- 5 Star Wars, Televisión, Perdidos en Tokio ses cuál será nuestra rutilante imagen. Es 6 Las mujeres robots realmente difícil y nadie decide por nosotros 7 Queers y machotes, El hombre bicentenario, (no hacemos tapas publicitarias, no escucha- Humanos con partes robóticas mas a quienes nos insisten con su marke- 8 Robocop y Asimov ting, ni siquiera hacemos tapas para irritar -
El Hombre Elefante Screenbox
EL HOMBRE ELEFANTE SCREENBOX FICHA NÚM. 2.452 T.O.: THE ELEPHANT MAN NACIONALIDAD: ESTADOS UNIDOS Estreno Screenbox: 11-06-2.021 DURACIÓN: 125’ Estreno España: 04-05-1.981 AÑO: 1.980 WWW.SCREENBOX.CAT TEL: 630 743 981 PI I MARGALL, 26. LLEIDA FICHA ARTÍSTICA -Twin Peaks: Las Piezas Perdidas Dr. Frederick Treves: Anthony (2.014) Hopkins -Inland Empire (2.006) John Merrick: John Hurt -Mulholland Drive (2.001) Mrs. Kendal: Anne Bancroft -The Straight Story: Una Historia Carr Gomm: John Gielgud Verdadera (1.999) -Carretera Perdida (1.997) FICHA TÉCNICA -Twin Peaks: Fuego Camina Conmi- Director: David Lynch go (1.992) Guion: David Lynch, -Corazón Salvaje (1.990) Eric Bergren, -Terciopelo Azul (1.986) Christopher De Vore -Dune (1.984) Productor: Jonathan Sanger -El Hombre Elefante (1.980) Música: John Morris -Cabeza Borradora (1.977) Fotografía: Freddie Francis Montaje: Anne V. Coates PREMIOS Y PRESENCIA EN FESTIVALES SINOPSIS -Premios Oscar: Nominada a la A finales del siglo XIX, el doctor Mejor Película, al Mejor Director, al Frederick Treves descubre en un Mejor Actor, al Mejor Guion Adap- circo a un hombre llamado John tado, a la Mejor Música Original, al Merrick. Se trata de un ciudadano Mejor Montaje, a la Mejor Dirección británico con la cabeza mons- Artística y al Mejor Diseño de Ves- truosamente deformada, que vive tuario (1.981) en una situación de constante -Globos de Oro: Nominada a la Me- humillación y sufrimiento al ser jor Película-Drama, al Mejor Direc- exhibido diariamente como una tor, al Mejor Actor-Drama y al Mejor atracción de feria. -
Rupaul's Drag Race Is Still Figuring out How to Handle Gender and Race Scott .J Mckinnon University of Wollongong, [email protected]
University of Wollongong Research Online Faculty of Social Sciences - Papers Faculty of Social Sciences 2018 RuPaul's Drag Race is still figuring out how to handle gender and race Scott .J McKinnon University of Wollongong, [email protected] Publication Details McKinnon, S. (2018). RuPaul's Drag Race is still figuring out how to handle gender and race. The onC versation, 28 June 1-5. Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] RuPaul's Drag Race is still figuring out how to handle gender and race Abstract For a reality TV show about a queer subculture, RuPaul's Drag Race has achieved extraordinary success. In the show, which winds up another series this Friday, drag queens compete to be named "America's Next Drag Superstar". Across 13 seasons (including three of RuPaul's Drag Race All Stars) it has graduated from niche programming on the LGBT cable station Logo to a mainstream, award-winning hit on the widely viewed VH1. In Australia, the show streams on Stan and is often highlighted as a drawcard in its ad campaigns. The show's wit and glamour go some way to explaining this success. Just as important, however, is the way in which Drag Race acts as a small-screen reflection of big issues happening in the wider world. Race, sex and religion are all front and centre. And the show is a real-time representation of current struggles over gender performance and identity. Yet paradoxically, Drag Race is both an agent and subject of this disruptive gender moment. -
M I I E W of Earn Ed $10$105,000 Inl988
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The Trouble with “Queerness”: Drag and the Making of Two Cultures by Katie Rebecca Horowitz a Dissertation Submitted in Part
The Trouble with “Queerness”: Drag and the Making of Two Cultures By Katie Rebecca Horowitz A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Rhetoric in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Linda Williams, Chair Professor Catherine Cole Professor Judith Butler Fall 2012 Abstract The Trouble with “Queerness”: Drag and the Making of Two Cultures by Katie Rebecca Horowitz Doctor of Philosophy in Rhetoric University of California, Berkeley Professor Linda Williams, Chair This dissertation responds to the frequent charge within academic and activist circles that queer theory is simply gay male theory cloaked in more inclusive language. Taking as its starting point an ethnographic case study of drag king and queen performance cultures, it challenges the efficaciousness of an everything and the kitchen sink approach to queer theorizing and organizing. This work constitutes the first academic monograph centered on queer life in Cleveland, Ohio and is also the first to focus simultaneously on kinging and queening, a lacuna at once explained by and demanding interrogation of the fact that these practices have almost nothing in common with each other. Despite the shared heading of drag, these iconically queer institutions overlap little with respect to audience, movement vocabulary, stage persona, and treatment of gender, class, race, and sexuality. The radical (in)difference between these genres serves as a microcosmic representation of the perennial rift between lesbians and gay men and highlights the heteronormativity of the assumption that all of the identity categories subsumed under (and often eclipsed by) the queer umbrella ought a priori to have anything in common culturally, politically, or otherwise. -
From Hellholes to Hell: on Political Agency in Purgatory
Croatian Political Science Review, Vol. 56, No. 3-4, 2019, pp. 137-152 137 Original research article Received: 20 March 2019 https://doi.org/10.20901/pm.56.3-4.06 From Hellholes to Hell: On Political Agency in Purgatory ZORAN KURELIĆ Faculty of Political Sciences, University of Zagreb Summary In this essay the author creates and discusses an interplay of two incommensu- rable concepts of evil: Hannah Arendt’s radical evil from The Origins of Tota- litarianism, and David Lynch’s evil presented artistically as “the bad electri- city” in Ronnie Rocket. The first concept is related to Hell which Arendt uses in a few essays and in The Origins... In her opinion the first step towards the pure hell of Auschwitz was made in internment camps for stateless refugees. Giorgio Agamben revisits this idea and shows the link between statelessness and superfluousness. For Arendt the road which started with the inability to solve the refugee problem in Europe ended up in a Hell on Earth created in extermination camps. Agamben believes that spaces of extermination which reappeared on the European continent during the wars in former Yugoslavia demonstrate the grim possibility of recreating Hell in Europe. In his extraordi- nary script for the unmade film Ronnie Rocket, David Lynch creates a fiction- al hellhole of a city in which the rulers torture the population with bad elec- tricity. The author discusses these two dramatically different visions of hell in order to show how Arendt’s radical evil when compared to “the bad electri- city” can be understood as a production of Hell, and how Lynch’s switching from the bad to good electricity represents a revolutionary change which is simultaneously political and cosmological. -
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. -
CENTURY PANEGYRIC 1ST AZRAQI of HERAT by LEONARD WILLIAM
A STUDY OF THE IMAGERY OF THE ELEVENTH CENTURY PANEGYRIC 1ST AZRAQI OF HERAT by LEONARD WILLIAM HARROW A Thesis Presented for the Degree of FJfrD, - In the University of London 1973* ProQuest Number: 10672856 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10672856 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 A feature of the work of the eleventh century poet, AzraqI of Herat, is his use of elaborate and complex imagery. This thesis is a study of AzraqI' s imagery with a view to examining his images and any allusions associated with them. A complete understanding of such features will lead to a better comprehension of the world in which the poet lived and worked. To achieve this end a number of prominent themes in AzraqI's gaga1 id have been examined. In general they may be divided into those of the intellectual sphere (the picture of the universe and philoso phical ideas), themes associated with the natural world (the place of minerals and precious stones, flowers and animals), and aspects of the world created by man. -
"Rupaul's Drag Race" "Ru-Veals" Guest Judges for Highly Anticipated Season 10 Premiering Thursday, March 22 at 8:00 PM ET/PT
March 8, 2018 "RuPaul's Drag Race" "Ru-Veals" Guest Judges For Highly Anticipated Season 10 Premiering Thursday, March 22 At 8:00 PM ET/PT Christina Aguilera, Shania Twain, Lena Dunham, Halsey, Abbi Jacobson, Ilana Glazer, Kate Upton, Billy Eichner, Kumail Nanjiani, Emily V. Gordon and More to Guest Judge Stephen Colbert, Andy Cohen and Cheyenne Jackson to Make Special Guest Appearances NEW YORK, March 8, 2018 /PRNewswire/ -- VH1 today announced the guest judges set to join the milestone 10th season of Emmy® Award-winning "RuPaul's Drag Race," premiering Thursday, March 22 at 8:00 PM ET/PT. RuPaul will be joined by a star-studded line-up of celebrities to help alongside show regulars Michelle Visage, Carson Kressley and Ross Mathews as they decide who will stay, lip-synch for their life, or "sashay away." This season's guest judges include Christina Aguilera, Shania Twain, Lena Dunham, Halsey, Abbi Jacobson, Ilana Glazer, Kate Upton, Billy Eichner, Kumail Nanjiani, Emily V. Gordon, Padma Lakshmi, Courtney Love, Nico Tortorella, Audra McDonald, Ashanti, Logan Browning, Tisha Campbell-Martin, Carrie Preston, Andrew Rannells, Miles Heizer, Todrick Hall and Lizzo. Additionally, Stephen Colbert, Andy Cohen and Cheyenne Jackson will treat the queens to special guest appearances. The 14 competing queens will hold nothing back to impress the judges as they vie for the ultimate title of "America's Next Drag Superstar" and a grand prize of $100,000. The previously announced queens include: Asia O'Hara (Dallas, TX), Aquaria (Brooklyn, NY), Blair St. Clair (Indianapolis, IN), Dusty Ray Bottoms (New York, NY), Eureka O'Hara (Johnson City, TN), Kalorie Karbdashian-Williams (Albuquerque, NM), Kameron Michaels (Nashville, TN), Mayhem Miller (Riverside, CA), Miz Cracker (New York, NY), Monét X Change(Bronx, NY), Monique Heart (Kansas City, MO), The Vixen (Chicago, IL), Vanessa Vanjie Mateo (Tampa, FL), and Yuhua Hamasaki (New York, NY).