Post-Queer Desires
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Configuring a Scatological Gaze in Trash Filmmaking Zoe Gross
Excremental Ecstasy, Divine Defecation and Revolting Reception: Configuring a Scatological Gaze in Trash Filmmaking Zoe Gross Scatology, for all the sordid formidability the term evokes, is not an es- pecially novel or unusual theme, stylistic technique or descriptor in film or filmic reception. Shit happens – to emphasise both the banality and perva- siveness of the cliché itself – on multiple levels of textuality, manifesting it- self in both the content and aesthetic of cinematic texts, and the ways we respond to them. We often refer to “shit films,” using an excremental vo- cabulary redolent of detritus, malaise and uncleanliness to denote their otherness and “badness”. That is, films of questionable taste, aesthetics, or value, are frequently delineated and defined by the defecatory: we describe them as “trash”, “crap”, “filth”, “sewerage”, “shithouse”. When considering cinematic purviews such as the b-film, exploitation, and shock or trash filmmaking, whose narratives are so often played out on the site of the gro- tesque body, a screenscape spectacularly splattered with bodily excess and waste is de rigeur. Here, the scatological is both often on blatant dis- play – shit is ejected, consumed, smeared, slung – and underpining or tinc- turing form and style, imbuing the text with a “shitty” aesthetic. In these kinds of films – which, as their various appellations tend to suggest, are de- fined themselves by their association with marginality, excess and trash, the underground, and the illicit – the abject body and its excretia not only act as a dominant visual landscape, but provide a kind of somatic, faecal COLLOQUY text theory critique 18 (2009). -
1997 Sundance Film Festival Awards Jurors
1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J. -
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 -
The Evolution of Fat Female Characters in Contemporary American Film a Thesis Presented to the Faculty Of
Changing Shape: The Evolution of Fat Female Characters in Contemporary American Film A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Laura E. Pohlman April 2016 © 2016 Laura E. Pohlman. All Rights Reserved. 2 This thesis titled Changing Shape: The Evolution of Fat Female Characters in Contemporary American Film by LAURA E. POHLMAN has been approved for the School of Film and the College of Fine Arts by Ofer Eliaz Assistant Professor of Film Studies Elizabeth Sayrs Interim Dean, College of Fine Arts 3 Abstract LAURA E. POHLMAN, M.A., April 2016, Film Changing Shape: The Evolution of Fat Female Characters in Contemporary American Film Director of Thesis: Ofer Eliaz The purpose of this thesis is to elucidate the fluid conception of fat women within contemporary American culture from the early 1970s to the present. Due to their non- normative embodiment, fat women typically face denigration and marginalization. Most mainstream film narratives reify the negative social positioning of fat women, often through assimilationist characters that resign themselves to fatphobia or otherwise compensate for their fatness. On the flipside, carnival and camp narratives foster liberatory fat characterization, as exemplified by the figure of “the unruly woman.” In his portrayal of both assimilationist and liberationist women, Divine functions as a barometer for subsequent fat characterization. Overall, this thesis critiques fat assimilation, argues for the importance of fat liberation, and projects a future where fat acceptance becomes the norm. 4 Table of Contents Page Abstract .............................................................................................................................. -
The Gay Revolution and the Pink Flamingos Bachelor’S Diploma Thesis
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Jiří Vrbas The Gay Revolution and the Pink Flamingos Bachelor’s Diploma Thesis Supervisor: doc. Michael Matthew Kaylor, PhD. 2016 1 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. ………………………………………………. 2 “I thank God I was raised Catholic, so sex will always be dirty.” (John Waters) Acknowledgement I would like to thank my supervisor doc. Michael Matthew Kaylor, PhD, for his help and for making me believe in this topic. I would also like to thank him and Jeffrey Alan Vanderziel, BA, alike for their Gay Studies course. Knowledge acquired in their class provided the necessary background for this analysis. 3 Table of Contents Introduction ..................................................................................................................... 5 I. Being Gay in the Past .................................................................................................. 7 I.1. 18th Century Europe ................................................................................................ 7 I.2. The Early 20th Century USA .................................................................................. 9 I.3. The 1950s USA .................................................................................................... 14 II. Early Gay Rights Activism .................................................................................... -
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. -
Trash Is Truth: Performances of Transgressive Glamour
TRASH IS TRUTH: PERFORMANCES OF TRANSGRESSIVE GLAMOUR JON DAVIES A thesis submitted to the Faculty of Graduate Studies in partial fulfillment of the requirements for the degree of Master of Arts Graduate Programme in Film and Video, Critical and Historical Studies. York University Toronto, Ontario June 2004 1 2 3 Abstract I will examine several transgressive and transformative performances of glamour in American queer cinema. Primarily, I will look at Mario Montez in the films of Andy Warhol and of Jack Smith (1960s), Divine in the films of John Waters (1970s), and George Kuchar in his own video diaries (1980s). These performances are contradictory, messy, abject, and defiant; they are also profoundly moving to identifying spectators. The power of these performances lies in their harnessing of the experience of shame from queer childhood as a force to articulate deviant queer subjectivities. By forging a radical form of glamour based on a revaluation of trash and low culture, these performances refuse to value authenticity over artifice, beauty over ugliness, truth over trash. This trash glamour is intimately connected to the intense star identification of Hollywood cinematic spectacle that was a survival strategy for queer male children in post-World War Two America. 4 Table of Contents Abstract 4 Table of Contents 5 Introduction 6 1. Theoretical Context 15 2. Super-Fans: Warhol, Smith, Montez 34 3. Divine Shame 62 4. Kuchar’s Queer “Kino-Eye” 97 Conclusion 122 Works Cited 126 Filmography 136 Videography 137 5 Introduction “As Walter Benjamin argued, it is from the ‘flame’ of fictional representations that we warm our ‘shivering lives’” – Peter Brooks I would like to begin with an anecdote that will serve as a point of origin for the connections and resonances among queer childhood, shame, Hollywood fandom, abjection, trash, glamour, and performance that I will develop in this thesis. -
Pink Flamingoes and the Culture of Trash
--�·. : ··-·,----., ,•' ! \··I Sleaze queen Divine in Pink Flamingos. 808 THE TERRAINOF THE UNSPEAKABLE Pink Flamingos and the culture of trash DARREN TOFTS To me, bad rasre is whar enrertainmenc is all about. If someone vomits watching one of my films, it's like getting a standing ovation. John Waters 1 Theorizing crash culture presents cultural studies with some awk ward problems. The issue is not just che way crash culture rends co posicion irs audience with respect co gender and sexual policies. Ir is also chat rhe rerm is used both descriptively and normatively: ir designates a range of subcultural practices, but it also suggests a moral accirude , a cultural discourse on what is acceptable as representation - a discourse char emerged in overt confrontation wirh the guardians of high culture. In recent years the rerm has been used in rhe context of a continuing and increasingly sophisticated interest in che obscene, and also of a sustained intellectual inquiry inco rhe dynamics of populism and mass culture, and the conditions of production and consumption in post-industrial society. Within cultural studies there has been a rigorous critique of the ways in which crash culture has come co be understood, how it is used and by whom, and the ambiguous policical force it exerts within the domain of popular culture generally. Philip Brophy has distinguished between che rerm crash- ('all maccer of refuse ... all the material lefr over') and its erstwhile synonym, junk ('all rhe material injected, invited, avowed, support ed'), in cerms of their relation co the process of consumption (culture). Brophy's collaborative 'Trash and Junk Culture' exhibi tion of 19892 skilfully represented the extensive and hierarchical nature of crash culture, from the overtly visible (exploitation advertising, video nascies, pornograph�·) to che sublim�nal (body building and wresding magazines). -
By Billups Allen Billups Allen Spent His Formative Years in and Around the Washington D.C
By Billups Allen Billups Allen spent his formative years in and around the Washington D.C. punk scene. He graduated from the University of Arizona with a creative writing major and a film minor. He has worked in seven different record stores around the country and currently lives in Memphis, Tennessee where he works for Goner Records, publishes Cramhole zine, contributes music and movie writing regularly to Razorcake, Ugly Things, and Lunchmeat magazines, and writes fiction. (cramholezine.com, [email protected]) Illustrations by Codey Richards, an illustrator, motion designer, and painter. He graduated from the University of Alabama in 2009 with a BFA in Graphic Design and Printmaking. His career began by creating album art and posters for local Birmingham venues and bands. His appreciation of classic analog printing and advertising can be found as a common theme in his work. He currently works and resides at his home studio in Birmingham, Alabama. (@codeyrichardsart, codeyrichards.com) Layout by Todd Taylor, co-founder and Executive Director of Razorcake/Gorsky Press, Inc. Razorcake is a bi-monthly, Los Angeles-based fanzine that provides consistent coverage of do-it-yourself punk culture. We believe in positive, progressive, community-friendly DIY punk, and are the only bona fide 501(c)(3) non-profit music magazine in America. We do our part. This zine is made possible in part by support by the Los Angeles County Department of Arts and Culture. Printing Courtesy of Razorcake Press razorcake.org ne rainy weekday, my friend and I went to a small Baltimore shop specializing in mid-century antiques called Hampden Junque. -
Out-Siders: Auteurs in Place by Nathan B. Koob a Dissertation
Out-siders: Auteurs in Place by Nathan B. Koob A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Screen Arts and Cultures) in the University of Michigan 2015 Doctoral Committee: Professor Caryl Flinn, Co-Chair Associate Professor Daniel Chilcote Herbert, Co-Chair Emeritus Professor Richard Abel Distinguished Professor Lucy Fischer, University of Pittsburgh Professor Johannes von Moltke © Nathan B. Koob 2015 For My Family: Elise, Mom, Dad, Lisa, Crew Whose love and support never wavers and is always in place. ii ACKNOWLEDGEMENTS I imagine that every dissertation feels like a journey and in this case I feel like it is more a descriptor than a metaphor at this point given the amount of travel and discovery involved. I am overwhelmed by just thinking about the many people who have helped me to reach this place where I am at and I am so incredibly grateful. I would be remiss to not start at the beginning and mention my Senior High School English teacher who first began to teach me that cinema was something I could both love and engage with intellectually. I will never forget that John Erwin started me on this path by loaning me great films and being kind enough to sit down and talk with me about them. In my undergrad at Oklahoma State University I was lucky to have a mentor who understood my passion for the subject of media studies and how best to direct it. Hugh Manon was extremely important to my early development as a scholar and encouraging me to go to graduate school. -
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. -
Subverting the Gendered Bodies in Female Trouble (John Waters) and Liquid Sky (Slava Tsukerman) Benjamin Cattin
Subverting the Gendered Bodies in Female Trouble (John Waters) and Liquid Sky (Slava Tsukerman) Benjamin Cattin To cite this version: Benjamin Cattin. Subverting the Gendered Bodies in Female Trouble (John Waters) and Liquid Sky (Slava Tsukerman). Education. 2020. hal-02962404 HAL Id: hal-02962404 https://hal-univ-fcomte.archives-ouvertes.fr/hal-02962404 Submitted on 9 Oct 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License Subverting the Gendered Bodies in Female Trouble (John Waters) and Liquid Sky (Slava Tsukerman) Mémoire de Master MEEF parcours anglais présenté par Benjamin Cattin. Sous la direction d’Adrienne Boutang (UFR SLHS, INSPE de Franche-Comté). Session de mai 2020. Table of contents Thanks p.3 Introduction p.4 I) (De)constructing gender p.7 1. Gender is artificial p.7 1.1. The social construction of gender p.7 1.2. The masquerade p.9 2. Devices for the subversion of gender p.10 2.1. Cross-dressing and drag p.10 2.2. Androgyny p.13 2.3. Camp p.14 II) Subverting through excess p.15 1.