Gus Van Sant

2011 ◽  
Keyword(s):  
Queer Cinema ◽  
Soziale Identität ◽  
Gus Van Sant

Kaum ein anderer zeitgenössischer Regisseur des amerikanischen Autorenkinos hat die Sehnsucht, das Begehren, den Schmerz und die Melancholie der Jugendzeit filmisch derart eindringlich und einfühlsam porträtiert wie Gus Van Sant. Fasziniert beobachtet er jugendliche Subkulturen und antibürgerliche Milieus, wobei er das subjektive Erleben seiner Figuren hervorkehrt und mit poetischen und bisweilen surrealen Bildschöpfungen in die Innenwelt seiner Protagonisten vordringt. Meist sind sie unterwegs, auf der Suche nach Zugehörigkeit und Geborgenheit, doch manchmal proben sie den Aufstand, um sich abzugrenzen und ihre individuelle Freiheit zu behaupten. Immer aber sind sie Suchende, die ihr persönliches Glück und ihre (sexuelle, politische und soziale) Identität noch nicht gefunden haben. Mit frühen, existenzialistisch anmutenden Dramen wie "Mala Noche" oder "My Own Private Idaho", die um zerbrechende Männerfreundschaften und unerfüllte (homosexuelle) Liebe kreisen, hat sich Van Sant zudem als einer der bedeutendsten Vertreter des New Queer Cinema etabliert.

: Drugstore Cowboy . Gus van Sant.

1990 ◽  
Vol 43 (3) ◽  
pp. 27-30
Author(s):  
Steve Vineberg
Keyword(s):  
Gus Van Sant

: My Own Private Idaho . Gus van Sant, Laurie Parker.

1992 ◽  
Vol 46 (1) ◽  
pp. 23-25
Author(s):  
Harvey R. Greenberg
Keyword(s):  
Gus Van Sant

Transitions Within Queer North African Cinema

Screen Bodies ◽  
2017 ◽  
Vol 2 (2) ◽  
pp. 64-77 ◽  
Author(s):  
Walter S. Temple
Keyword(s):  
Social Media ◽  
Middle East ◽  
North Africa ◽  
Film Festivals ◽  
Global Awareness ◽  
Critical Factors ◽  
North African ◽  
Mena Region ◽  
African Cinema ◽  
Queer Cinema

In recent years, North African queer cinema has become increasingly visible both within and beyond Arabo-Orientale spaces. A number of critical factors have contributed to a global awareness of queer identities in contemporary Maghrebi cinema, including the dissemination of films through social media outlets and during international film festivals. Such tout contemporain representations of queer sexuality characterize a robust wave of films in the Middle East and North Africa (MENA) region, inciting a new discourse on the condition of the marginalized traveler struggling to locate new forms of self and being—both at home and abroad.

Making a Scene: Queercore Cinema

2021 ◽  
pp. 540-566
Author(s):  
Curran Nault
Keyword(s):  
Queer Cinema ◽  
Do It Yourself ◽  
1960S And 1970S ◽  
The 1960S

This chapter recuperates the oft-overlooked queer punk cinematic corpus of queercore, and delineates its constituting elements: deviant content and do-it-yourself (DIY) practice, coalescing in an insistence on queercore’s capital D subcultural Difference. In doing so, this chapter engages three films by queercore instigator G. B. Jones as centerpieces around which a constellation of other instructive instances appear: The Troublemakers (1990), The Lollipop Generation (2008), and The Yo-Yo Gang (1992). Irreverent, experimental, and unapologetic, queercore cinema first emerged in the 1980s, as academics and activists were beginning to articulate notions of the “radical queer,” and it forges a neglected link between the mischievous films of the 1960s and 1970s gay underground and the provocative, arty experimentations of 1990s New Queer Cinema.

scholarly journals A composição da experiência em Paranoid Park de Gus van Sant

2009 ◽  
Vol 3 (6) ◽  
pp. 50-57
Author(s):  
Luciano Gatti
Keyword(s):  
Gus Van Sant

O artigo aborda a questão da composição da experiência a partir da forma narrativa do filme Paranoid Park> de Gus Van Sant. O significado da experiência com o desconhecido para o herói adolescente de Van Sant não é abordado do ponto de vista de um rito de passagem para a vida adulta, mas como uma forma específica de experiência nesta fase da vida. O modo como esta experiência é constituída é, por sua vez, indissociável do modo como ela é narrada. É esta correlação de experiência e narração que configura um modo peculiar de entrelaçar enredo e imagens que caracteriza o modo de filmar de Van Sant.

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