After the New Queer Cinema

Mapping Intimacies ◽

10.1093/oxfordhb/9780190877996.013.1 ◽

2021 ◽

pp. 2-14

Author(s):

B. Ruby Rich

Keyword(s):

Film And Television ◽

Queer Cinema ◽

Ang Lee ◽

Contemporary Politics ◽

Todd Haynes ◽

New Framework

This chapter historicizes the work of the New Queer Cinema (NQC), a term coined by the author to describe a group of groundbreaking films that emerged in the late 1980s and early 1990s. It argues that the NQC sensibility fueled subsequent imaginative film and television, from makers as diverse as Ang Lee, Todd Haynes, Silas Howard, and Celine Sciamma. At the heart of the chapter is the conviction that contemporary politics demand a new framework for queer and trans media, namely the idea of intersectionality, demonstrated by makers and artists such as Janelle Monae, Allie Logout, Wu Tsang, The Nest Collective, and the trio of Mika Gustafson, Olivia Kastebring, and Christina Tsiobanelis. Intersectionality enables mutuality, recognition, and alliance in a time of deep division and terror; it asks queer media makers to take transgression beyond personal expressions and identity into collective acts of world making.

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Zionism’s Redemptions

10.1017/9781009036771 ◽

2021 ◽

Author(s):

Arieh Saposnik

Keyword(s):

Intellectual History ◽

Political History ◽

Space And Place ◽

Modern World ◽

Counter Narrative ◽

Contemporary Politics ◽

Self Interest ◽

Christian Thought ◽

New Framework

In this volume, Arieh Saposnik examines the complicated relations between nationalism and religious (and non-religious) redemptive traditions through the case study of Zionism. He provides a new framework for understanding the central ideas of this movement and its relationship to traditional Jewish ideas, Christian thought, and modern secular messianisms. Providing a longue-durée and broad view of the central themes and motivations in the making of Zionism, Saposnik connects its intellectual history with the concrete development of the Zionist project in Israel in its cultural, social, and political history. Saposnik demonstrates how Zionism offers lessons for a politics in which human perfectibility continues to serve as a guiding light and as a counter-narrative to the contemporary politics of self-interest, self-promotion and 'post-truth.' This is a study that bears implications for our understanding of modernity, of space and place, history and historical trajectories, and the place of Jews and Judaism in the modern world.

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The Queer Biopic in the AIDS Era

10.1093/oso/9780197604038.001.0001 ◽

2021 ◽

Author(s):

Laura Stamm

Keyword(s):

Social Hygiene ◽

Queer Cinema ◽

Shared History ◽

Todd Haynes ◽

Derek Jarman ◽

Aids Crisis ◽

History Of ◽

Historical Moment ◽

John Greyson ◽

Opening Up

The Queer Biopic in the AIDS Era returns to the historical moment of the AIDS crisis and the emergence of New Queer Cinema to investigate the phenomena of queer biopic films produced during the late 1980s–early 1990s. More specifically, the book asks why queer filmmakers repeatedly produced biographical films of queer individuals living and dead throughout the years surrounding the AIDS crisis. While film critics and historian typically treat the biopic as a conservative, if not cliché, genre, queer filmmakers have frequently used the biopic to tell stories of queer lives. This project pays particular attention to the genre’s queer resonances, opening up the biopic’s historical connections to projects of education, public health, and social hygiene, along with the production of a shared history and national identity. Queer filmmakers’ engagement with the biopic evokes the genre’s history of building life through the portrayal of lives worthy of admiration and emulation, but it also points to another biopic history, that of representing lives damaged. By portraying lives damaged by inconceivable loss, queer filmmakers challenge the illusion of a coherent self presumably reinforced by the biopic genre and in doing so, their films open up the potential for new means of connection and relationality. The book features fresh readings of the cinema of Derek Jarman, John Greyson, Todd Haynes, Barbara Hammer, and Tom Kalin. By calling for a reappraisal of the queer biopic, the book also calls for a reappraisal of New Queer Cinema’s legacy and its influence of contemporary queer film.

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Killer Feminism

Indie Reframed ◽

10.3366/edinburgh/9781474403924.003.0003 ◽

2016 ◽

Author(s):

Patricia White

Keyword(s):

Primary Source ◽

Source Material ◽

Queer Cinema ◽

Todd Haynes ◽

History Of ◽

Women's Films

Celebrated in accounts of the American indie heyday of the 1990s through the 2000s, Killer Films is headed by the equally feted partnership of producers Christine Vachon and Pam Koffler. Drawing on interviews and other primary source material, White seeks integrates the story of Killer as a butch-lesbian woman’s company into the history of feminist filmmaking. This history includes not only the New Queer Cinema but trailblazing lesbian and transgender features such as Go Fish (1994), High Art (1998) and Boys Don’t Cry (1999) and ‘women’s films’ made by women (Mary Harron) and queer men (Todd Haynes).

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Suicide and the Media

Crisis ◽

10.1027//0227-5910.22.4.163 ◽

2001 ◽

Vol 22 (4) ◽

pp. 163-169 ◽

Cited By ~ 45

Author(s):

R. Warwick Blood ◽

Jane Pirkis

Keyword(s):

Social Learning Theory ◽

The Body ◽

Media Content ◽

Causal Association ◽

Media Messages ◽

Film And Television ◽

Media Portrayal ◽

The Media ◽

Actual Suicide ◽

Multiple Meanings

Summary: The body of evidence suggests that there is a causal association between nonfictional media reporting of suicide (in newspapers, on television, and in books) and actual suicide, and that there may be one between fictional media portrayal (in film and television, in music, and in plays) and actual suicide. This finding has been explained by social learning theory. The majority of studies upon which this finding is based fall into the media “effects tradition,” which has been criticized for its positivist-like approach that fails to take into account of media content or the capacity of audiences to make meaning out of messages. A cultural studies approach that relies on discourse and frame analyses to explore meanings, and that qualitatively examines the multiple meanings that audiences give to media messages, could complement the effects tradition. Together, these approaches have the potential to clarify the notion of what constitutes responsible reporting of suicide, and to broaden the framework for evaluating media performance.

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