Queer Publicity: A Dossier on Lesbian and Gay Film Festivals Essays by B Ruby Rich, Eric O. Clarke, and Richard Fung, with an Introduction by Patricia White

1999 ◽  
Vol 5 (1) ◽  
pp. 73-93 ◽  
Keyword(s):  
Film Festivals ◽  
Lesbian And Gay ◽  
Richard Fung

Representing Ourselves into Existence

2021 ◽  
pp. 510-540
Author(s):  
Laura Horak
Keyword(s):  
Case Studies ◽  
San Francisco ◽  
Community Building ◽  
Film Festivals ◽  
Arts Funding ◽  
Transgender Identity ◽  
Lesbian And Gay ◽  
The Face ◽  
The Many ◽  
Film And Video

This chapter explores the energetic and innovative trans cinema movement that emerged in the 1990s by looking at case studies of the first transgender film festivals—Counting Past 2 in Toronto, the International Transgender Film and Video Festival in London, and Tranny Fest in San Francisco. Each festival took a different approach to trans film programming, community building, and arts funding. Together, the three festivals helped define a specifically transgender identity and community that overlapped with but were not the same as “queer.” They also influenced the programming of lesbian and gay festivals, carving out more room for trans-made work. These case studies demonstrate how film festivals can contribute to social and aesthetic movements, how festival organizers have overcome and become mired in the challenges they face, and the many ways in which trans has long put pressure on “lesbian and gay” and “queer” in the face of its erasure.

LGBTQ Film Festivals and their Audiences

2016 ◽  
Author(s):  
Chris Perriam ◽  
Darren Waldron
Keyword(s):  
Film Festival ◽  
Film Festivals ◽  
Lesbian And Gay ◽  
Audience Responses ◽  
The Uk

The chapter covers the emergence and development of specific LGBTQ film festivals in France, Spain and the UK. The festivals studied are FIRE !! (Barcelona), LesGaiCineMad (Madrid), FICGLB (Barcelona), Zinegoak (Bilbao), Chéries-Chéris (Paris), Ecrans Mixtes (Lyon), Des Images aux mots (Toulouse), the London Lesbian and Gay Film Festival/Flare as well as queer film seasons at Manchester’s Cornerhouse cinema, including POUTfest. Audience responses are used to finesse ideas of how the festivals fit into wider discourses on film festivals in relation to niche designing, space and locality, and responsiveness to community and individual spectators’ needs. The chapter draws on the corpus of written questionnaire responses to programmed films across the festivals.

Sign in / Sign up

Export Citation Format

Share Document