New queer cinema

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    • "New queer cinema" is a term first coined by the academic

    Sight & Sound[1] magazine in 1992 to define and describe a movement in queer-themed independent filmmaking
    in the early 1990s.

    It is also referred to as the "queer new wave".[2]

    Definition

    The term developed from use of the word queer in academic writing in the 1980s and 1990s as an inclusive way of describing gay, lesbian, bisexual and transgender identity and experience, and also defining a form of sexuality that was fluid and subversive of traditional understandings of sexuality. The major film studio to discuss these issues was aptly named New Line Cinema with its Fine Line Features division. Since 1992, the phenomenon has also been described by various other academics and has been used to describe several other films released since the 1990s. Films of the new queer cinema movement typically share certain themes, such as the rejection of heteronormativity and the lives of LGBT protagonists living on the fringe of society.[3][4]

    History

    Queer cinema

    Susan Hayward states that queer cinema existed for decades before it was given its official label, such as, with the films of French creators

    avant-garde and underground films (e.g., Andy Warhol's 1960s films). In avant-garde film, there are lesbian filmmakers, who laid the heritage for queer cinema, notably Ulrike Ottinger, Chantal Akerman and Pratibha Parmar. An important influence on the development of queer cinema was Rainer Werner Fassbinder's 1970s and 1980s European art films, which added a "gay and queer sensibility" to film (e.g., Querelle from 1982, based on Genet's novel).[5] Like Rosa von Praunheim, who has made more than 100 films on queer topics since the late 1960s, many of them have been shown and rated internationally. Some of the director's films are considered milestones in queer cinema. Von Praunheim became an international icon of queer cinema.[6] Another influence on queer cinema was the Brazilian filmmaker Héctor Babenco, whose film Kiss of the Spider Woman, from 1985, depicted a man in prison, who is seduced by his cellmate.[5] His films also examined the relationship between sexual, social, and political oppression, which would go on to become key themes of new queer cinema.[7]
    : 192 

    The identification of queer cinema probably emerged in the mid-1980s through the influence of queer theory, which aims to "challenge and push further debates on gender and sexuality" as developed by feminist theory and "confuse binary essentialisms around gender and sexual identity, expose their limitations", and depict the blurring of these roles and identities.[5] Queer cinema filmmakers sometimes made films in genres that were typically considered mainstream, then subverting conventions by depicting the "question of pleasure" and celebrating excess, or by re-adding homosexual themes or historical elements where they had been erased through straightwashing (e.g. in Derek Jarman's 1991 historical film Edward II).[5] Queer cinema filmmakers called for a "multiplicity of voices and sexualities" and equally had a "collection of different aesthetics" in their work.[5] The issue of "lesbian invisibility" had been raised in queer cinema, since more funding went to gay male filmmakers than lesbian directors, as is the case with the heterosexual/mainstream film industry, and as such, much of queer cinema focused on the "construction of male desire".[5]

    Rich's articles

    gay liberation movement of the 1970s and 1980s.[9] In the films of new queer cinema, the protagonists and narratives were predominantly LGBT, but were presented invariably as outsiders and renegades from the rules of conventional society, who embraced radical and unconventional gender roles and ways of life, frequently casting themselves as outlaws or fugitives.[9]

    Drawing on

    poststructuralist academic theories of the 1980s, the new queer cinema presented human identity and sexuality as socially constructed, and therefore fluid and changeable, rather than fixed. In the world of New Queer Cinema, sexuality is often a chaotic and subversive force, which is alienating to and often brutally repressed by dominant heterosexual power structures. Films in the new queer cinema movement frequently featured explicit and unapologetic depictions of same-sex sexual activity, and presented same-sex relationships that reconfigured traditional heterosexual notions of family and marriage. While not all identifying with a specific political movement, new queer cinema films were invariably radical, as they sought to challenge and subvert assumptions about identity, gender, class, family and society.[10][11]

    Generic developments

    River Phoenix's critically acclaimed performance as gay hustler Mikey Waters in Gus Van Sant's 1991 film My Own Private Idaho helped bring queer cinema to a broader audience.

    The 1991 documentary

    Madonna. New queer cinema figures like Livingston encouraged viewers to suspend their ignorance, and enjoy the diversity of humanity.[12][13][14][15]

    Not only did these films frequently reference the

    AIDS crisis of the 1980s, the film movement itself can be seen as a response to the crisis. The tone and energy of these movies reflected the assertive outrage of AIDS activist organizations of the past decade.[7]: 220  AIDS activist videos, in particular, had a strong influence on the themes and imagery in new queer cinema as many of its notable figures were directly involved with AIDS activism.[7]: 221  These films commented on the failure of the Ronald Reagan administration to respond to the AIDS epidemic and the social stigma experienced by the gay community.[16][17] Given the relative invisibility of references to AIDS in mainstream Hollywood film-making, the work of new queer cinema was hailed by the gay community as a welcome correction to a history of under-representation and stereotyping of gay and lesbian people.[9]

    Among the films cited by Rich were Todd Haynes's Poison (1991),[18][19] Laurie Lynd's RSVP (1991), Isaac Julien's Young Soul Rebels (1991), Derek Jarman's Edward II (1991), Tom Kalin's Swoon (1992),[20] and Gregg Araki's The Living End (1992). All the films feature explicitly gay and lesbian protagonists and subjects; explicit and unapologetic depictions of or references to gay sex; and a confrontational and often antagonistic approach towards heterosexual culture.[9]

    These directors were making their films at a time when the gay community was facing new challenges from the AIDS crisis in the 1980s and the

    gay rights and equality have established him as an influential activist within the LGBT community. Queer theory and politics were emerging topics in academic circles, with proponents arguing that gender and sexual categories, such as homosexual and heterosexual, were historical social constructs, subject to change with cultural attitudes. Rich noted that many films were beginning to represent sexualities that were unashamedly neither fixed nor conventional, and coined the phrase "new queer cinema".[9]

    Other important examples of new queer cinema include the first feature film by a black lesbian, Cheryl Dunye's The Watermelon Woman (1996),[21][22] and Hong Kong director Wong Kar-wai's Happy Together (1997).[23]

    In the 21st century

    Beginning in the 2010s, a number of LGBT filmmakers, including Rose Troche and Travis Mathews, identified a newer trend in LGBT filmmaking, in which the influence of new queer cinema was evolving toward more universal audience appeal.[24][25]

    Rich, the originator of the phrase "new queer cinema", has identified the emergence in the late 2000s of LGBT-themed mainstream films such as

    marital infidelity in which the central characters' lesbianism is a relatively minor aspect of a story and the primary theme is how a long-term relationship can become troubled and unfulfilling regardless of its gender configuration, as a prominent example of the trend.[24][25] The French film Blue Is the Warmest Colour, which won the Palme d'Or at the 2013 Cannes Film Festival, has also been singled out as a notable example.[27] More recently, Academy Award for Best Picture winners Moonlight and Everything Everywhere All at Once have been notable for prominently depicting queer characters.[28][29][30][31][32]

    See also

    References

    1. ^ "New Queer Cinema". Sight & Sound. September 1992. Retrieved January 12, 2020.
    2. ISBN 978-0-19-958726-1
      , retrieved 2021-09-16
    3. ^ "New Queer Cinema". Mubi.com. Archived from the original on 16 March 2013.
    4. ^ "GLBTQ New Queer Cinema" (PDF). Glbtq.com.
    5. ^ a b c d e f Hayward, Susan. "Queer cinema" in Cinema Studies: The Key Concepts (Third Edition). Routledge, 2006. p. 329-333
    6. ^ "Germany's most famous gay rights activist: Rosa von Praunheim". Deutsche Welle. Retrieved 2018-06-14.
    7. ^
      ISBN 0-7425-1972-4
      .
    8. ISBN 978-0-8135-3486-2
      .
    9. ^
      S2CID 235148891
      .
    10. JSTOR 201866
      .
    11. OCLC 1101032499
      .
    12. ^ "How Paris is Burning became a touchstone of queer cinema - The Skinny". www.theskinny.co.uk. Retrieved 2020-06-05.
    13. ISSN 0362-4331
      . Retrieved 2020-06-05.
    14. ^ "Jennie Livingston on Paris Is Burning 30 Years Later". Hyperallergic. 2020-02-26. Retrieved 2020-06-05.
    15. ^ Turner, Kyle (25 June 2019). "The Re-released 'Paris Is Burning' Brings Us into the Future". GQ. Retrieved 2020-06-05.
    16. ^ Rich, B. Ruby (2013-06-20). "Read The First Chapter of B. Ruby Rich's 'New Queer Cinema: The Director's Cut,' a Must-Read For Anyone Even Remotely Interested In LGBT Cinema". IndieWire. Retrieved 2020-06-05.
    17. ^ "New Queer Cinema: Theory, Politics, and Transgression". Brooklyn Institute for Social Research. Retrieved 2020-06-05.
    18. ^ Levy, Emanuel (June 27, 2015). "Gay Pride 2015: Celebrating Todd Haynes' Poison". Emmanuel Levy. Archived from the original on July 13, 2015. Retrieved November 3, 2015.
    19. ^ Dillard, Clayton (April 3, 2013). "Hearth of Darkness: Rob White's Todd Haynes". Slant Magazine. Retrieved November 3, 2015.
    20. ^ On the Margins: Todd Haynes's Poison|Current|The Criterion Collection
    21. ^ Keough, Peter (May 8, 1997), "Slice of life — The Watermelon Woman refreshes", The Phoenix, retrieved April 29, 2008
    22. JSTOR 3299571
    23. ^ "Development of the New Queer Cinema Movement". UKEssays. November 2018.
    24. ^ a b "Sundance Interview: Concussion" Archived 2016-03-05 at the Wayback Machine. Women and Hollywood, February 1, 2013.
    25. ^ a b "Cruising With Travis Mathews: The Nightcharm Interview". Nightcharm, March 9, 2013.
    26. ^ Q, May 31, 2013.
    27. Xtra!, May 31, 2013. Archived June 28, 2013, at archive.today
    28. ^ Riese (2023-03-13). ""Everything Everywhere All At Once" Makes Lesbian History at the Oscars". Autostraddle. Retrieved 2023-04-09.
    29. ^ "'Everything Everywhere All at Once' Swept the 2023 Oscars". Them. 2023-03-13. Retrieved 2023-04-09.
    30. ^ Russell, John. "Oscars 2023: 'Everything Everywhere All at Once' won almost everything". LGBTQ Nation. Retrieved 2023-04-09.
    31. ^ McManus, Samuel; jane (2017-02-27). "'Moonlight' becomes the first LGBT film in history to win Best Picture at the Oscars". Attitude. Retrieved 2023-04-09.
    32. ^ February 27, Devan Coggan; EST, 2017 at 11:32 AM. "GLAAD Celebrates 'Moonlight' as First LGBTQ Film to Win Best Picture". EW.com. Retrieved 2023-04-09.{{cite web}}: CS1 maint: numeric names: authors list (link)

    Sources

    External links

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