DOCSLIB.ORG

Queer Film Culture: Performative Aspects of LGBT/Q Film Festivals

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Queer Film Culture: Performative Aspects of LGBT/Q Film Festivals Queer Film Culture: Performative Aspects of LGBT/Q Film Festivals Dissertation zur Erlangung des Grades der Doktorin der Philosophie bei der Fakultät für Geisteswissenschaften an der Universität Hamburg vorgelegt von Skadi Loist aus Schwerin Hamburg, Dezember 2014 Mündliche Prüfung (Disputation): 10. März 2015 Gutachter_innen: Prof. Dr. Joan Kristin Bleicher Prof. Dr. Malte Hagener Prof. Dr. Martin Jörg Schäfer To my patient grandmother, Charlotte Loist (*23.10.1924) Table of Contents Table of Figures ............................................................................................................... 7 Acknowledgements .......................................................................................................... 8 Introduction Performing Queer Film Culture .................................................................................. 12 1. Objective and Research Question ........................................................................... 14 2. Academic and Social Relevance ............................................................................. 22 3. Chapter Layout ....................................................................................................... 26 Chapter One: The Performative Nature of Film Festivals: Theories and Methods . 26 Chapter Two: Historical Development of the Festival Circuit ................................ 27 Chapter Three: Performing Festival Culture: Selection, Exhibition and Reception 28 Chapter One The Performative Nature of Film Festivals: Theories and Methods ........................ 29 1. A New Research Field ............................................................................................ 29 2. Theoretical Frameworks ......................................................................................... 33 2.1 Performative, Performativity, Performance ...................................................... 34 2.2 Performing Film Festivals / Film Festival Performance ................................... 40 2.3 Connecting Film Festival Theorizations ........................................................... 45 Transformations .................................................................................................... 46 Public Sphere ........................................................................................................ 47 3. Methodology ........................................................................................................... 50 3.1 Positionality, Qualitative and Quantitative Methods ........................................ 50 3.2 Queer Studies: Notes on Terminology .............................................................. 55 3.3 Film Festivals as Research Objects ................................................................... 58 3.3.1 Film Festival—a Definition ........................................................................ 58 3.3.2 The Film Festival Circuit ............................................................................ 62 3.3.3 Six Axes in the Study of Film Festivals ..................................................... 64 Axis One—Film as Work of Art ....................................................................... 65 Axis Two—Economic Continuum: From Production to Distribution .............. 67 Axis Three—Festival as Organization .............................................................. 69 Axis Four—Reception: Audiences and Exhibition ........................................... 72 Axis Five—Politics of Place ............................................................................. 73 Axis Six—The Film Festival Circuit and History ............................................. 74 4. Conclusion .............................................................................................................. 75 5 Chapter Two Historical Development of the Festival Circuit ........................................................... 76 1. Introduction ............................................................................................................. 76 2. The Contextual Frame: Film Festival History ........................................................ 82 2.1 The Rise of the Film Festival Model ................................................................. 82 Film Culture before Festivals ............................................................................... 83 Phase One: National Cinemas and Geopolitics .................................................... 84 Phase Two: Political Film and Programmed Cinephilia ...................................... 89 Phase Three: Proliferation, Professionalization and Diversification of the Circuit ................................................................................................................ 93 2.2 Historical Phases of the LGBT/Q Film Festival Circuit ................................... 99 3. Mapping the Circuit: Data Collection and Case Studies ...................................... 103 4. A Global History of LGBT/Q Film Festivals ....................................................... 110 4.1 Predecessors to Festivals: Gay and Lesbian Representation ........................... 111 4.2 First Generation of Gay & Lesbian Film Festivals ......................................... 113 4.3 Early 1990s: New Queer Cinema, Pink Dollars and Global Spread ............... 119 4.4 Late 1990s: Mainstreaming, Differentiation and Globalization ...................... 128 4.5 The Early 2000s: New Global Festivals and Professionalization ................... 140 4.6 Today (2007–2015): Differentiation and Clustering ....................................... 143 5. Conclusion ............................................................................................................ 152 Chapter Three Performing LGBT/Q Film Festival Culture: Selection, Exhibition and Reception154 1. Introduction ........................................................................................................... 154 2. Selection: Performing Queer Cinema by Programming ....................................... 156 2.1 Selection and Film Festival Programming ...................................................... 156 2.2 What Is Queer Cinema? .................................................................................. 159 2.3 Curators and Screening Committees: Gatekeepers and Mediators ................. 162 2.4 LGBT/Q Programming Strategies ................................................................... 164 2.4.1 Representation By, For and About LGBT ................................................ 165 2.4.2 Failed Performatives: The Gendercator Incident ..................................... 169 2.4.3 Queer Programming Strategies ................................................................. 183 A Complicated Queerness ............................................................................... 184 I'm Not There ................................................................................................... 185 Girl’s Room ..................................................................................................... 187 2.5 Concluding Selection ...................................................................................... 188 3 Exhibition: The Festival as Performative Event .................................................... 189 3.1 Event, Aufführung, Contingency ..................................................................... 189 3.2 Scripts, Liveness and Mediation ..................................................................... 191 6 3.3 Time and Space ............................................................................................... 193 3.4 Queer Exhibition ............................................................................................. 195 4 Reception: Publics, Audiences, Communities ....................................................... 196 4.1 Public Spheres ................................................................................................. 197 4.1.1 Queer Counter Public Sphere and Film Festivals ..................................... 197 4.1.2 Intervention Public ................................................................................... 203 4.1.3 Performative Interventions: Scandals and Boycotts ................................. 206 Pinkwashing Debates ...................................................................................... 207 The Mayor, Lampedusa and the Political Strategies of the Festival in Hamburg .................................................................................................... 210 4.2 Audiences and Communal Reception ............................................................. 214 4.2.1 Festival Experience................................................................................... 214 4.2.2 Queer Reception Context.......................................................................... 216 4.2.3 Audience, LGBT/Q Community and Festival Community ...................... 218 4.2.4 Collective Viewing Experience ................................................................ 221 5 Conclusion ............................................................................................................. 223 Conclusion Queer Film Culture Performed .................................................................................. 226 Conclusions ................................................................................................................ 226 Further Research
Load more

Recommended publications
  • GLAAD Media Institute Began to Track LGBTQ Characters Who Have a Disability
    Studio Responsibility IndexDeadline 2021 STUDIO RESPONSIBILITY INDEX 2021 From the desk of the President & CEO, Sarah Kate Ellis In 2013, GLAAD created the Studio Responsibility Index theatrical release windows and studios are testing different (SRI) to track lesbian, gay, bisexual, transgender, and release models and patterns. queer (LGBTQ) inclusion in major studio films and to drive We know for sure the immense power of the theatrical acceptance and meaningful LGBTQ inclusion. To date, experience. Data proves that audiences crave the return we’ve seen and felt the great impact our TV research has to theaters for that communal experience after more than had and its continued impact, driving creators and industry a year of isolation. Nielsen reports that 63 percent of executives to do more and better. After several years of Americans say they are “very or somewhat” eager to go issuing this study, progress presented itself with the release to a movie theater as soon as possible within three months of outstanding movies like Love, Simon, Blockers, and of COVID restrictions being lifted. May polling from movie Rocketman hitting big screens in recent years, and we remain ticket company Fandango found that 96% of 4,000 users hopeful with the announcements of upcoming queer-inclusive surveyed plan to see “multiple movies” in theaters this movies originally set for theatrical distribution in 2020 and summer with 87% listing “going to the movies” as the top beyond. But no one could have predicted the impact of the slot in their summer plans. And, an April poll from Morning COVID-19 global pandemic, and the ways it would uniquely Consult/The Hollywood Reporter found that over 50 percent disrupt and halt the theatrical distribution business these past of respondents would likely purchase a film ticket within a sixteen months.
    [Show full text]
  • Transgender Representation on American Narrative Television from 2004-2014
    TRANSJACKING TELEVISION: TRANSGENDER REPRESENTATION ON AMERICAN NARRATIVE TELEVISION FROM 2004-2014 A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Kelly K. Ryan May 2021 Examining Committee Members: Jan Fernback, Advisory Chair, Media and Communication Nancy Morris, Media and Communication Fabienne Darling-Wolf, Media and Communication Ron Becker, External Member, Miami University ABSTRACT This study considers the case of representation of transgender people and issues on American fictional television from 2004 to 2014, a period which represents a steady surge in transgender television characters relative to what came before, and prefigures a more recent burgeoning of transgender characters since 2014. The study thus positions the period of analysis as an historical period in the changing representation of transgender characters. A discourse analysis is employed that not only assesses the way that transgender characters have been represented, but contextualizes American fictional television depictions of transgender people within the broader sociopolitical landscape in which those depictions have emerged and which they likely inform. Television representations and the social milieu in which they are situated are considered as parallel, mutually informing discourses, including the ways in which those representations have been engaged discursively through reviews, news coverage and, in some cases, blogs. ii To Desmond, Oonagh and Eamonn For everything. And to my mother, Elaine Keisling, Who would have read the whole thing. iii ACKNOWLEDGMENTS Throughout the research and writing of this dissertation, I have received a great deal of support and assistance, and therefore offer many thanks. To my Dissertation Chair, Jan Fernback, whose feedback on my writing and continued support and encouragement were invaluable to the completion of this project.
    [Show full text]
  • E-Learning-Einheit Zu Dem Thema LGBTQ+: Didaktische Rahmung
    E-Learning-Einheit zu dem Thema LGBTQ+: Didaktische Rahmung Fach; Schulform; Klassenstufe Religion/Ethik, Politik, Geschichte, Deutsch, Englisch, ggf. fächerübergreifender Einsatz; alle Schulformen; 10-11. Klasse Material 4-teilige Serie an Lernvideos mit einer Länge von 3-4 Minuten, die einzeln oder aufeinander aufbauend eingesetzt werden können (Akronym, Geschichte, Rechte, Kulturgüter), 3 Ar- beitsblätter (Akronym, Geschichte, Rechte), 1 Memory (Kulturgüter), Liste mit weiterführen- der Literatur Thema Obwohl Genderdiversität und verschiedene sexuelle Orientierungen im Alltag durch z.B. me- diale Darstellungen immer präsenter werden, gehören sie noch nicht zur Normalität. Studien zeigen, dass sich auch in Deutschland 46 Prozent der LGBTQ-Personen diskriminiert füh- len1. Schaut man sich Werte zu negativen Bemerkungen oder Verhaltensweisen, die gegen- über LGBTQ-Personen in der Schule wahrgenommen wurden, an, liegen die Zahlen mit 92 Prozent nochmal deutlich höher2. Die Aufklärung und Sensibilisierung von Schüler*innen stellt somit einen wichtigen Faktor dar, um langfristig Akzeptanz und einen gesellschaftlichen Wandel zu schaffen. Dafür erhalten die Schüler*innen in dieser Lerneinheit Einblicke in das Akronym, die Geschichte, Rechte und Kulturgüter der LGBTQ+-Community. Dadurch soll ein Grundlagenwissen aufgebaut und eine Sensibilisierung für das Thema erreicht werden. 1 EUROPÄISCHE UNION (Hrsg.): LGBT-Erhebung in der EU: Erhebung unter Lesben, Schwulen, Bisexuellen und Trans- gender-Personen in der Europäischen Union ; Ergebnisse auf einen Blick, Luxemburg: Publ. Off. of the Europ. Union 2013 (Gleichheit), S. 16. 2 Ebd., S. 20. Didaktische Perspektive In der vierteiligen Serie wird das geschichtsdidaktische Unterrichtsprinzip der Personifizie- rung angewendet. Dabei steht die fiktive homosexuelle Protagonistin „Lisa“ stellvertretend für die LGBTQ+-Community und führt die Schüler*innen durch die Informationen und Inhalte und berichtet dabei auch von eigenen Erfahrungen.
    [Show full text]
  • Family Gender by Club MBR0018
    Summary of Membership Types and Gender by Club as of November, 2013 Club Fam. Unit Fam. Unit Club Ttl. Club Ttl. Student Leo Lion Young Adult District Number Club Name HH's 1/2 Dues Females Male Total Total Total Total District 111NW 21495 CLOPPENBURG 0 0 10 41 0 0 0 51 District 111NW 21496 DELMENHORST 0 0 0 36 0 0 0 36 District 111NW 21498 EMDEN 0 0 1 49 0 0 0 50 District 111NW 21500 MEPPEN-EMSLAND 0 0 0 44 0 0 0 44 District 111NW 21515 JEVER 0 0 0 42 0 0 0 42 District 111NW 21516 LEER 0 0 0 44 0 0 0 44 District 111NW 21520 NORDEN/NORDSEE 0 0 0 47 0 0 0 47 District 111NW 21524 OLDENBURG 0 0 1 48 0 0 0 49 District 111NW 21525 OSNABRUECK 0 0 0 49 0 0 0 49 District 111NW 21526 OSNABRUECKER LAND 0 0 0 35 0 0 0 35 District 111NW 21529 AURICH-OSTFRIESLAND 0 0 0 42 0 0 0 42 District 111NW 21530 PAPENBURG 0 0 0 41 0 0 0 41 District 111NW 21538 WILHELMSHAVEN 0 0 0 35 0 0 0 35 District 111NW 28231 NORDENHAM/ELSFLETH 0 0 0 52 0 0 0 52 District 111NW 28232 WILHELMSHAVEN JADE 0 0 1 39 0 0 0 40 District 111NW 30282 OLDENBURG LAPPAN 0 0 0 56 0 0 0 56 District 111NW 32110 VECHTA 0 0 0 49 0 0 0 49 District 111NW 33446 OLDENBURGER GEEST 0 0 0 34 0 0 0 34 District 111NW 37130 AMMERLAND 0 0 0 37 0 0 0 37 District 111NW 38184 BERSENBRUECKERLAND 0 0 0 23 0 0 0 23 District 111NW 43647 WITTMUND 0 0 10 22 0 0 0 32 District 111NW 43908 DELMENHORST BURGGRAF 0 0 12 25 0 0 0 37 District 111NW 44244 GRAFSCHAFT BENTHEIM 0 0 0 33 0 0 0 33 District 111NW 44655 OSNABRUECK HEGER TOR 0 0 2 38 0 0 0 40 District 111NW 45925 VAREL 0 0 0 30 0 0 0 30 District 111NW 49240 RASTEDE
    [Show full text]
  • SALAFI- JIHADISM in AFRICA BRIEF / 12 June 2021
    SALAFI- JIHADISM IN AFRICA BRIEF / 12 June 2021 A winning strategy by SERIES Giovanni Faleg* Senior Analyst, EUISS Katariina Mustasilta Postdoctoral Fellow, Finnish Institute of International Affairs Summary › Violent extremism has become a grow- ing threat throughout the African conti- INTRODUCTION nent: all sub-regions have experienced the emergence of groups active across state Violent extremism keeps spreading in Africa, showing boundaries. notable resilience despite years of counter-extremism › Today, armed actors engaging in violent and prevention efforts by governments and interna- extremism in the continent are mainly af- tional actors (1)*. In addition to killing thousands, it filiated with Islamist militant groups and costs the affected regions an estimated $97 billion in particularly Salafi-jihadist ideology. lost informal economic activity each year (2). › The spread of Salafi-jihadism in Africa is Today, armed actors engaging in violent extremism fuelled by a combination of localised griev- in the continent are mainly affiliated with Islamist ances and transnational ambitions, while militant groups and organisations and particularly tactical and strategic flexibility has in- Salafi-jihadist ideology (3). Recent data indicates a creased the resilience of insurgent groups. dangerous expansion of Salafi-jihadist armed groups › Once it has emerged as a potent force, de- — often simply labelled as violent extremist or ter- feating Salafi-jihadism on the battlefield rorist organisations (4) — beyond the traditional hot- proves very difficult as groups show enor- spots in the Sahel, Lake Chad Basin and the Horn of mous resilience, even when facing tacti- Africa to West Africa’s coastal states and Central and cal defeats. Southern Africa.
    [Show full text]
  • Resource Guide: Helping Families to Support Their LGBT Children
    A PrActitioner’s resource Guide: Helping Families to Support Their LGBT Children ACKNOWLEDGEMENTS A Practitioner’s Resource Guide: Helping Families to Support Their LGBT Children was prepared by Caitlin Ryan, PhD, ACSW, Director of the Family Acceptance Project at San Francisco State University under contract number HHSP233201200519P for SAMHSA, HHS. DISCLAIMER The views, opinions, and content of this publication are those of the author and do not necessarily reflect the views, opinions, or policies of SAMHSA or HHS. PUBLIC DOMAIN NOTICE All materials appearing in this publication are in the public domain and may be reproduced or copied with- out permission from SAMHSA. Citation of the source is appreciated. The publication may not be repro- duced or distributed for a fee without the specific, written authorization of the Office of Communications, SAMHSA. ELECTRONIC ACCESS This publication may be downloaded or ordered at http://store.samhsa.gov/. Or call SAMHSA at 1-877-SAMHSA-7 (1-877-726-4727) (English and Español). RECOMMENDED CITATION Substance Abuse and Mental Health Services Administration, A Practitioner’s Resource Guide: Helping Families to Support Their LGBT Children. HHS Publication No. PEP14-LGBTKIDS. Rockville, MD: Substance Abuse and Mental Health Services Administration, 2014. Table of Contents Introduction 2 Critical Role of Families in Reducing Risk & Promoting Well-Being 4 Helping Families Decrease Risk & Increase Well-Being for Their LGBT Children 8 Increasing Family Support: How to Help Right Now 11 Resources for Practitioners and Families 12 Endnotes 13 References 14 Introduction ince the early 1990s, young people have increasingly their LGBT children. So few practitioners tried to engage or been coming out or identifying as lesbian, gay, and work with these families (Ryan & Chen-Hayes, 2013).
    [Show full text]
  • Best Practice Highlights
    Best Practice Highlights Lesbian, Gay, Bisexual, Transgender and people who may be questioning their sexual orientation or sexual identity (LGBTQ) Prepared by Robert Paul Cabaj, M.D. The LGBTQ Population There really is no single LGBTQ community, rather a very diverse population that comes from all racial, ethnic, cultural, socioeconomic, and geographic backgrounds. People who are LGBTQ may move to urban areas, if they can, where there may be a sense of greater acceptance and personal safety. It is very difficult to know the percentage of people who identify as LGBTQ. Stigma and the fear of biases contribute to an underreporting of actual sexual orientation. Some people may also self-identify one way even if their internal desires or sexual behavior imply a different orientation. Identify issues may be especially pronounced for LBGTQ people from particular racial and ethnic minority groups. Significant History – Events which influenced the community and contextualize assessment and treatment Understanding the history of the LGBTQ community both in American society and within the profession of psychiatry is essential in bringing context to treatment. Some major milestones have contributed to the civil rights of LGBTQ people and to greater acceptance. First, the Stonewall riots of 1969 have become the historic launching point for gay rights. In 2003, the Supreme Count struck down sodomy laws across the county with their decision in Lawrence vs. Texas. In 2013, the Supreme Court decision on United States vs. Windsor led to the same sex couple being allowed to share the same federal benefits as opposite sex couples, ending the Defense of Marriage Act.
    [Show full text]
  • Citi's 2018 Global Citizenship Report
    2018 Global Citizenship Report Citizenship at Citi Solutions for Impact How We Do Business Appendices A What’s Inside “We consistently assess Citi’s role in response to three questions: What are we doing to help create inclusive and resilient communities? How can we use our voice to help drive dialogue toward solutions? Is Citi walking the talk — are we doing the right things within our own firm? The short answer to all three Citizenship at Citi of these questions continues to be the same: pg. 5 Letter from Our CEO that we can and should do more.” pg. 7 Citi at a Glance — Michael L. Corbat, CEO pg. 9 Citizenship Approach Solutions for Impact pg. 23 Inclusive and Resilient Communities pg. 45 Environmental Finance 1 How We Do Business pg. 59 Environmental and Social Risk Management pg. 67 Human Rights pg. 75 Operations and Supply Chain pg. 91 Digital Innovation pg. 101 Talent and Diversity pg. 121 Ethics and Culture ABOUT THIS REPORT This report illustrates how we bring our mission to life through our business; it covers our corporate citizenship activities and performance for 2018. Our report- ing focuses on the issues we determined to be of greatest importance through a materiality assessment completed in 2017. This report has been prepared in accordance with the Global Reporting Initiative (GRI) Standards: Core option. We also used the United Nations (UN) Global Compact and the UN Guiding Principles on Business and Human Rights frame- works to guide our reporting. (See related indexes.) Appendices We have embedded the UN Sustainable Development Goals (SDGs) into relevant sections of the report.
    [Show full text]
  • Endrunde Avacon-Cup 2017(1)
    Niedersächsischer Fußballverband U13 Avacon-Cup Montag, den 12.06.2017 - Dienstag, den 13.06.2017 August-Wenzel-Stadion - Kirchdorfer Str. 15, 30890 Barsinghausen Uhrzeit: 15:30 Uhr Spielzeit:1 x 15 min 1. Tag Wechselzeit: 1 min Uhrzeit: 09:30 Uhr Spielzeit:1 x 15 min 2. Tag Wechselzeit: 1 min Mannschaften Mannschaften Mannschaften Aurich Leer/Emden Oldenburg-Land/Delmenhorst Rotenburg Diepholz Hannover 96 Lüneburg/Lüchow-Dannenberg VfL Osnabrück VfL Wolfsburg Bentheim Spielplan: Nr. Pl. Uhrzeit Spielpaarung Ergebnis 1 1 15:30 Aurich - Bentheim 2 : 0 2 2 15:30 Oldenburg-Land/Delmenhorst - VfL Osnabrück 2 : 0 3 1 15:46 Diepholz - Hannover 96 1 : 1 4 2 15:46 Lüneburg/Lüchow-Dannenberg - Rotenburg 1 : 0 5 1 16:02 VfL Wolfsburg - Leer/Emden 1 : 1 6 2 16:02 Bentheim - Oldenburg-Land/Delmenhorst 0 : 3 7 1 16:18 Aurich - Diepholz 1 : 1 8 2 16:18 VfL Osnabrück - Lüneburg/Lüchow-Dannenberg 2 : 1 9 1 16:34 Hannover 96 - VfL Wolfsburg 1 : 0 10 2 16:34 Leer/Emden - Rotenburg 0 : 1 11 1 16:50 Diepholz - Bentheim 1 : 0 12 2 16:50 Oldenburg-Land/Delmenhorst - Lüneburg/Lüchow-Dannenberg 1 : 2 13 1 17:06 VfL Wolfsburg - Aurich 2 : 1 14 2 17:06 VfL Osnabrück - Leer/Emden 3 : 1 15 1 17:22 Rotenburg - Hannover 96 0 : 0 16 2 17:22 Lüneburg/Lüchow-Dannenberg - Bentheim 3 : 0 17 1 17:38 Diepholz - VfL Wolfsburg 0 : 0 18 2 17:38 Leer/Emden - Oldenburg-Land/Delmenhorst 1 : 0 19 1 17:54 Aurich - Rotenburg 0 : 1 20 2 17:54 Hannover 96 - VfL Osnabrück 0 : 0 21 1 18:10 Bentheim - VfL Wolfsburg 0 : 3 22 2 18:10 Lüneburg/Lüchow-Dannenberg - Leer/Emden 2 : 0 23 1 18:26 Rotenburg - Diepholz 0 : 1 24 2 18:26 Oldenburg-Land/Delmenhorst - Hannover 96 0 : 1 25 1 18:42 VfL Osnabrück - Aurich 1 : 1 Niedersächsischer Fußballverband U13 Avacon-Cup Montag, den 12.06.2017 - Dienstag, den 13.06.2017 August-Wenzel-Stadion - Kirchdorfer Str.
    [Show full text]
  • Hadley Z. Renkin
    Hadley Z. Renkin HADLEY Z. RENKIN Bimbó út 184/B 1026 Budapest, Hungary 36-70-232-3265 [email protected] Current Position: 2009-present Assistant Professor Co-Director, 2-year MA Program in Critical Gender Studies Director, Internship Program for 2-year MA Program in Critical Gender Studies Department of Gender Studies Central European University Budapest, Hungary Education: University of Michigan Ann Arbor, MI PhD in Anthropology (Ethnology), 2007 Central European University Budapest, Hungary MA in Gender Studies, 1997 Swarthmore College Swarthmore, PA BA in Anthropology (Senior Thesis), 1988 Previous Teaching Experience: 2009 Faculty Fellow Depts. of Anthropology and International Studies Colby College, Waterville, ME 2008 Visiting Assistant Professor Department of Anthropology and Sociology Albion College, Albion, MI 2006 Visiting Lecturer Department of Sociology University of Latvia, Riga 2004 Adjunct Assistant Professor Department of Anthropology and Sociology Albion College, Albion, MI 2001 Visiting Lecturer Department of Sociology 1 Hadley Z. Renkin University of Latvia, Riga Spring, 2000 Visiting Lecturer Gender Studies Program University of Latvia, Riga Publications forthcoming. “Biopolitical Mythologies: Géza Róheim and the Sexual Science of Eastern European Otherness.” Special Issue: “The science of sex in a space of uncertainty: naturalizing and modernizing Europe's east, past and present.” (eds. Renkin, Hadley and Agnieszka Koscianska). Sexualities. forthcoming (with Agnieszka Koscianska) “Introduction.” Special Issue: “The science of sex in a space of uncertainty: naturalizing and modernizing Europe's east, past and present.” Sexualities. forthcoming. “Caging Desire: Budapest Pride and the Borders of European Difference.” in Borders as Productive of Desire: Gender and Sexuality at the Eastern Borders of Europe, Helms, Elissa and Tuija Pulkkinen, eds.
    [Show full text]
  • Elizabethirvinephdthesis.Pdf (8.438Mb)
    CONTINUITY IN INTERMITTENT ORGANISATIONS: THE ORGANISING PRACTICES OF FESTIVAL AND COMMUNITY OF A UK FILM FESTIVAL Elizabeth Jean Irvine A Thesis Submitted for the Degree of PhD at the University of St Andrews 2015 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/6901 This item is protected by original copyright Continuity in Intermittent Organisations: The Organising Practices of Festival and Community of a UK Film Festival Elizabeth Jean Irvine Thesis submitted for the degree of PhD at the University of St Andrews June 2014 ABSTRACT This thesis considers the relationship between practices, communities and continuity in intermittent organisational arrangements. Cultural festivals are argued to offer one such particularly rich and nuanced research context; within this study their potential to transcend intermittent enactment emerged as a significant avenue of enquiry. The engagement of organisation studies with theories of practice has produced a rich practice-based corpus, diverse in both theoretical concerns and empirical approaches to the study of practice. Nevertheless, continuity presents an, as yet, under- theorised aspect of this field. Thus, the central questions of this thesis concern: the practices that underpin the enactment of festivals; the themes emerging from these practices for further consideration; and relationships between festivals and the wider context within which they are enacted. These issues were explored empirically through a qualitative study of the enactment of a community-centred film festival. Following from the adoption of a ‘practice-lens approach’, this study yielded forty-eight practices, through which to explore five themes emerging from analysis: Safeguarding, Legitimising, Gatekeeping, Connecting and Negotiating Boundaries.
    [Show full text]
  • The Watermelon Woman (Cheryl Dunye, 1997; 90 Minutes)
    MALS 5800 Contemporary Cinema Studies/Bonner The Watermelon Woman (Cheryl Dunye, 1997; 90 minutes) Writer: Cheryl Dunye Editor: Annie Taylor Producers: Barry Simar, Alexandra Juhasz Original score: Paul Shapiro Cinematography: Michelle Crenshaw Abstract (from box cover): Set in Philadelphia, The Watermelon Woman is the story of Cheryl, a twenty-something black lesbian struggling to make a documentary about Fae Richards, a beautiful and elusive 1930s black film actress, popularly know as "The Watermelon Woman." While uncovering the meaning of the Watermelon Woman's life, Cheryl experiences a total upheaval in her own personal life. Her love affair with Diana, a beautiful white woman, and her interactions with the gay and black communities are subject to the comic yet biting criticism of her best friend Tamara. Meanwhile, each answer Cheryl discovers about the Watermelon Woman evokes a flurry of new questions about herself and her own future. At the film’s conclusion, the Watermelon Woman is clearly a metaphor for Cheryl's search for identity, community, and love. Cast: Cheryl (Cheryl Dunye) Shirley (Cheryl Clarke) Diana (Guinevere Turner) Mrs Dunye (Irene Dunye) Tamara (Valarie Walker) Lee (Brian Freeman) Herself (Camille Paglia) Volunteer (Toshi Reaagon) Fae Richards (Lisa Marie Bronson) Volunteer (Sarah Schulman) Questions for Discussion: 1. How is Dunye using direct address here? Does it differ from its use in other films we’ve studied? And if so, how? 2. How does The Watermelon Woman combine aspects of both documentary and narrative filmmaking? Why does Dunye select these modes for her film, and what are the effects for the spectator? 3.
    [Show full text]