queer history
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Archivaria ◽  
2022 ◽  
pp. 110-137
Author(s):  
Harrison Apple

Stemming from conflicts over the authority of professional archives to arrange and steward community knowledge, this article outlines the limitations of the archival apparatus to produce the conditions for social liberation through acquisition and offers suggestions for how to operate otherwise, as a collaborator in forgetting. It discusses the origins and revised mission of the Pittsburgh Queer History Project (PQHP) as a reflection of the precarious definition of community archives within the discipline and field of archival science. By retracing the steps in the PQHP’s mission, as it moved from being a custodial and exhibit-focused collecting project to acting as a decentralized mobile preservation service, I argue that community archival practice is an important standpoint from which to critically reassess the capacity of institutional archives to create a more conscious and complete history through broader collecting. Specifically, I demonstrate how contemporary attention to the value of community records and community archives is frequently accompanied by a demand for such archives, records, and communities to confess precarity and submit to institutional recordkeeping practices.


2021 ◽  
Vol 36 (3) ◽  
pp. 105-117
Author(s):  
Ronald Gregg

Abstract Lesbian filmmaker Barbara Hammer turned from experimental filmmaking to feature-length documentaries in the early 1990s. These late documentaries illustrate her distinct perspective on queer history and affect, which was influenced by 1970s lesbian feminism and queer scholarship in the 1980s and 1990s. Her structure and style in these films draw on the tools of both conventional historical documentaries and experimental film. Offering an astonishing range of evidence, Hammer creatively presents queer plenty from the margins of the archive. Through this evidence, Hammer affirms past queer lives, celebrating and highlighting rebelliousness, agency, creativity, queer kinship, and passion. Additionally, Hammer attempts to communicate with and embody the past, physically and emotionally seeking out and feeling the interior and exterior lives of her biographical subjects, who are predominantly creative women, including the poet Elizabeth Bishop, the Dada artist Hannah Höch, the surreal photographer Claude Cahun, and the painter Nicole Eisenman.


2021 ◽  
pp. 434-456
Author(s):  
Glyn Davis

This chapter details the production history and reception of Paul Hallam and Ron Peck’s film Nighthawks (1978), often recognized as a “classic” of British LGBTQ cinema. It centrally engages with Vito Russo’s suggestion that the film offered “a community reaction to itself.” Making the film was a lengthy undertaking: the chapter draws on Peck and Hallam’s archives to reconstruct its creation, and unpacks Peck’s involvement with the Four Corners collective and its influence on the content and form of Nighthawks. The film is situated in relation to key events in British queer history and the landscape of British filmmaking during the decade, as well as in relation to Richard Dyer’s landmark 1977 film season “Images of Homosexuality.” The film’s “sequel,” Strip Jack Naked (1991), is also explored as a partial atonement for Nighthawks’s omissions.


2021 ◽  
pp. 765-776
Author(s):  
Kara Keeling

This chapter considers the ways in which Black film enlists the past when engaging in present struggles. It demonstrates how Rodney Evans’s film Brother to Brother (2004) redresses the elision of queer history from accounts of the Harlem Renaissance. Through a close reading of the film’s spatial metaphors, sound design, and visual form, the chapter shows how realism and the disruption of habituation exist side by side as mechanisms for new visions of Black queer life. It concludes that Evans harnesses the power of sound and image to remake history and to account for Black queer desire and erotic life.


Antiquity ◽  
2021 ◽  
pp. 1-3
Author(s):  
Nathan Klembara

While there has long been an archaeological interest in diverse gender identities and sexualities, queer theory was first introduced into archaeological discourse only in 2000 with the publication of ‘Queer Archaeologies’, a special edition of World Archaeology. Growing out of the exciting work being done by queer archaeologists and the increasing interest in queer theory and the archaeologies of sexuality, the National Parks Service (United States), led by Megan E. Springate, digitally published LGBTQ America: a theme study of lesbian, gay, bisexual, transgender, and queer history in 2016 as part of the LGBTQ Heritage Initiative. The goal of the LGBTQ Heritage Initiative and LGBTQ America was to explore the nuances of LGBTQ+ heritage and history in the USA. Two recently published volumes, Identities and place and Preservation and place, edited by Katherine Crawford-Lackey and Megan E. Springate, are collections of a selection of the chapters originally published as part of LGBTQ America. Identities and place and Preservation and place collectively cover many issues affecting LGBTQ+ identity, history and cultural heritage.


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