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JOHN HUSTON Filmmaker Jessie Maple RUBEN ÖSTLUND (Will and Twice as Nice) NEW YORK JEWISH FILM FESTIVAL DANCE ON CAMERA BLACK INDEPENDENTS IN NEW YORk, 1968-1986 FILM COMMENT SELECTS SPECIAL PROGRAMS NEW RELEASES JAN/FEB 2015SM FILM LIVES HERE Elinor Bunin Munroe Film Center 144 W 65th St | Walter Reade Theater 165 W 65th St | filmlinc.com | @filmlinc HERE STARTS Dear Friends, TABLE OF CONTENTS Here at the Film Society, 2015 begins auspiciously with a robust January, marked Festivals & Series 2 by the return of an annual standby (the New York Jewish Film Festival) and a retro- Let There Be Light: The Films of John Huston (Through Jan 11) 2 PROVOKES PROVOKES spective for one of the most original directors working today (Ruben Östlund). In Case of No Emergency: The Films of Ruben Östlund (Jan 14 – 22) 4 The New York Jewish Film Festival once again boasts an assortment of pre- New York Jewish Film Festival (Jan 14 – 29 ) 5 mieres and revivals, including Israel’s 2015 Foreign Language Oscar submission Gett: The Trial of Vivian Amsalem. With this year’s wide-ranging edition, the festi- Dance on Camera (Jan 30 – Feb 3) 10 HERE FILM val continues to evolve in exciting and surprising new directions. Tell It Like It Is: Black Independents in New York, 1968-1986 (Feb 6 – 19) 13 In Case of No Emergency: The Films of Ruben Östlund highlights the talented Film Comment Selects (Feb 20 – Mar 5) 17 Swedish director, whose Force Majeure was one of the standouts at the 2014 Special Programs 20 HERE FILM Cannes Film Festival and whose Play was a NYFF49 selection. New Releases 22 February sees the return of our popular annual festival spotlighting the rela- January Schedule 24 INSPIRES tionship between dance and film, Dance on Camera, as well as Tell It Like It Is, a February Schedule 26 landmark series chronicling the remarkable and undertold history of black inde- Coming Up 28 pendent filmmaking in New York City in the 1960s, ’70s, and ’80s, from the work Stay Connected with the Film Society and Ticket Information 29 of the late William Greaves to the early films of Spike Lee. BELONGS Our slate of New Releases is exceptionally diverse, featuring returning fa- GO GREEN! The bimonthly calendar is always available at filmlinc.com. Members and Patrons, please consider joining us in our effort by opting out of the printed calendar.Visit filmlinc.com/GoGreen. vorites from major programs past, such as Bruno Dumont’s Li’l Quinquin, as well as India’s answer to The Godfather, Gangs of Wasseypur; Jody Lee Lipes’s ballet HERE FILM documentary Ballet 422, shot right here at Lincoln Center; and Xavier Dolan’s Cannes prizewinner Mommy. In short, there’s a lot to look forward to at the Film Society in 2015. But for now, we’d like to wish you a Happy New Year, and we’ll see you at the movies! HERE FILM Give the MATTERS Dennis Lim Director of Programming THE KOBAL COLLECTION THE KOBAL SURPRISES PROGRAMMERS of Senior Programmer Florence Almozini • Programmer Isa Cucinotta HERE FILM Print Traffic Manager Rufus de Rham • Programming Coordinator Dan Sullivan Senior Programming Advisor Marian Masone • Programmer at Large Jake Perlin Programmer at Large Rachael Rakes THE FILM SOCIETY OF LINCOLN CENTER RECEIVES MAJOR SUPPORT FROM: Memberships • Gift Cards • Merchandise HERE FILM Learn more at filmlinc.com/gift OFFICIAL PREMIUM CONNECTS DOWNLOAD THE FILM SOCIETY APP MEDIA HOSPITALITY SUPPORTERS Browse the upcoming schedule, receive special alerts, share your FILM ® picks with friends & more! Available for iOS and Android devices. ENTERTAINS FILM SPECIAL PRICING! PLUS, SAVE WITH A 5+ FILM PACKAGE THROUGH JAN 11 bohemian districts of late-19th-century Paris and the titu- The Unforgiven lar cabaret as habituated by diminutive artist Henri de USA, 1960, 35mm, 125m Huston hoped to make a frank Toulouse-Lautrec. statement on racial prejudice in America with this saga Jan 4, 3:30pm | Jan 6, 3:00pm of a frontier family and their adopted Indian daugh- ter; though it fell short of his expectations, it remains Prizzi’s Honor a sober and intelligent film with fine performances. USA, 1985, 35mm, 130m Anjelica Huston won an Oscar Jan 1, 1:30pm for her sly, scene-stealing work in her father’s penultimate film, about the romantic entanglements of a New York hit Victory /THE KOBAL COLLECTION /THE KOBAL man, which has the irreverent spunk of a debut and the USA, 1981, 35mm, 116m In Huston’s must-be-seen-to-be- reflective, generous voice of a swan song. believed mash-up of the sports movie and the POW es- Jan 11, 7:00pm cape thriller, Michael Caine and Max von Sydow share the ARTISTS screen with a star-studded lineup of international soccer Reflections in a Golden Eye stars, headlined by the legendary Pelé. Series continues from December! ALLIED USA, 1967, 35mm, 108m In Huston’s hands, Carson Jan 4, 6:00pm A renaissance man unbound to genre and a painterly stylist attuned to the look of each scene, Huston McCuller’s melodrama, set at a Southern army base, be- was one of the greatest filmmakers of Hollywood’s golden age: an artist of great toughness, conviction, came a tender, languid, and deeply sad portrait of men A Walk with Love and Death and eloquence; a master storyteller; a stellar director of actors; and a brilliant actor himself. and women pushing up against the social conventions that USA, 1969, 35mm, 90m Two lovers act out a brief, doomed constrain them. Starring Marlon Brando, Elizabeth Taylor, romance while their world comes apart around them in and Robert Forster. Huston’s oblique 14th-century take on the “make love not Jan 3, 1:20pm | Jan 9, 6:15pm war” generation. LET THERE BE LIGHT: THE FILMS OF Jan 3, 8:30pm | Jan 6, 1:00pm Report from the Aleutians USA, 1943, digital projection, 47m The first color film by We Were Strangers Huston (narrated by the director) juxtaposes combat foot- USA, 1949, 35mm, 109m Among the grittiest, most off- age of the Aleutian campaign with scenes depicting the beat films of Huston’s studio period, We Were Strangers tedium of army life. depicts in documentary-like fashion a band of Cuban revo- Screening with The Battle of San Pietro lutionaries, led by an American expat (John Garfield) and a JOHN HUSTON USA, 1945, 35mm, 32m revenge-seeking girl (Jennifer Jones). SPECIAL THANKS Jan 7, 1:00pm & 8:45pm Jan 1, 8:30pm Museum of Modern Art; Academy Film Archive; Fox; Harvard Film Archive; Library of Congress; National Archives and Records Administration; National Park Service; Swedish Film Institute; The Roots of Heaven White Hunter, Black Heart Disney; and George Eastman House USA, 1958, 35mm, 121m Never one to choose easy Clint Eastwood, USA, 1990, 35mm, 112m On both sides of projects, Huston took on Romain Gary’s treatise on the the camera, Clint Eastwood limns one of his most complex Across the Pacific The Kremlin Letter sanctity of wild animals, blending action and philosophy in creations: John Wilson, a dauntless filmmaker (based on USA, 1942, 16mm, 97m Huston’s third feature reteams USA, 1970, 35mm, 120m Jean-Pierre Melville raved over this chronicle of an environmentalist’s crusade to preserve Huston) who ventures into Africa as much to test his mas- much of the Maltese Falcon cast and crew, but it never ac- Huston’s grim, fiercely sharp-witted Cold War–era spy the lives of elephants in French Equatorial Africa. culinity as to get a great film in the can. tually crosses the Pacific—the locale changed from Pearl thriller, in which a group of American intelligence agents Jan 2, 1:15pm | Jan 4, 1:00pm Jan 2, 6:15pm | Jan 5, 1:00pm Harbor to Panama when the plot’s scenario became a real- travel undercover to Moscow under the leadership of a ity before it could be filmed. deposed officer. Sinful Davey White Hunter, Jan 8, 1:45pm & 6:15pm Jan 2, 3:45pm USA, 1969, 35mm, 95m Taking a turn for the picaresque, Black Heart Huston made this fleet-footed, sharply observed, and The Barbarian and the Geisha Let There Be Light consistently underrated adventure story adapted from USA, 1958, DCP, 105m This 19th-century costumer about USA, 1946, DCP, 58m Huston’s landmark study of psycho- the fanciful death-row autobiography of Scottish rogue the U.S. Ambassador to Japan offers the twin pleasures logically scarred veterans was banned for decades by the David Haggart. of Huston’s still compositions, inspired by the setting, and Army, but now stands as a trenchant early depiction of Post Jan 9, 4:00pm | Jan 10, 6:45pm John Wayne’s say-what? casting in the lead. Traumatic Stress Disorder. Jan 8, 4:00pm & 8:30pm Screening with Independence USA, 1976, 16mm, 30m Tentacles and Winning Your Wings (Note: 6:00pm screening only) Ovidio G. Assonitis, Italy/USA, 1977, 35mm, 102m Fat City USA, 1942, 16mm, 18m One of Huston’s oddest screen appearances found USA, 1972, 35mm, 100m Huston drew on his own boxing Jan 7, 3:30pm & 6:00pm him starring—alongside Shelley Winters (!) and Henry experience from his youth for this New Jersey–set film Fonda (!!)—in this gloriously goofy creature feature, pro- COLLECTION ./THE KOBAL about a handsome, mildly promising fighter and his older, The Life and Times of Judge Roy Bean duced one year after Jaws by veteran horror director BROS alcoholic has-been mentor—one of the indisputable master- USA, 1972, 35mm, 120m Huston’s final Western is an Ovidio G. Assonitis. pieces of its director’s late career.
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  • Re-Imagining Queer Cinema Finding the Accent in Queer Filmmaking

    Re-Imagining Queer Cinema Finding the Accent in Queer Filmmaking

    Re-Imagining Queer Cinema Finding the Accent in Queer Filmmaking MA Programme in Film Studies Supervisor: Maryn C. Wilkinson Second reader: Marie-Aude Baronian MA thesis by: Yunus Emre Duyar Amsterdam, 26th June 2015 Word Count: 17,825 2 3 Table of Contents INTRODUCTION ...................................................................................................................................... 7 1. Queer Films and Beyond............................................................................................................. 14 1.1 Queer Culture and Film ............................................................................................................ 15 1.2 Gender Performativity and Film ............................................................................................. 17 1.3 Queer and the Rural .................................................................................................................. 20 2. Queer Filmmaking as Accented Cinema ................................................................................... 24 2.1. Accented Style ........................................................................................................................... 25 2.2. Mode of Production .................................................................................................................. 31 2.3. Chronotopes of Homeland and Life in Exile .......................................................................... 35 2.4. Journeying, Border Crossing and Identity Crossing............................................................