Pub Date : 2023-04-03DOI: 10.1080/17400309.2023.2202597
Zoë Shacklock
ABSTRACT Streaming television is often seen as a progressive space for queer representation, due to the wealth of queer people and stories found across its programmes. Yet for queer people to be seen on streaming television, they must first be made visible at the level of the interface, which determines which programmes are presented to users and in what ways. Through the organisation of the interface, streaming television acts as a discursive formation that creates knowledge about what it means to be queer. Borrowing from both Eve Kosofsky Sedgwick and Lynne Joyrich, I argue that streaming television constructs an epistemology of the category, in which queerness is presented as categorisable and predictable. I explore how the two key features of streaming television’s interfaces – categories and algorithms – produce an understanding of queerness as normatively visible and inseparable from consumer choice. Yet while streaming giants generate a neoliberal conception of normatively visible and consumable queerness, queer-specific streaming services such as Revry offer a different, ‘messier’ understanding of queer lives, suggesting that streaming television holds the potential for a more radical interface with queerness.
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Pub Date : 2023-04-03DOI: 10.1080/17400309.2023.2194781
Paige Macintosh
ABSTRACT A complex cinematic history of trans characters precedes contemporary representations of trans people — one of normalizing trans identity through class, gender, and race. In the context of contemporary American cinema, Sean Baker’s Tangerine (2015) demonstrates alternative strategies for representing trans characters and marks a turning point in trans cinema. Tangerine presents a grittier version of transgender experience than was seen in mainstream trans films released during the mid-2010s. The film challenges victimization narratives and the pathologization of the trans body, appealing directly to trans audiences. Moreover, the film’s trans-affirmative casting advocates trans agency, while its depictions of state and individual violence systematically critique conventional trans tropes in earlier trans films. However, the film’s paratexts re-affirm some of the industrial patterns that continue to marginalise trans industry workers. Prominent reviews and interviews with the cast and crew spotlight the redirection of this trans film’s cultural and financial capital away from trans workers and toward industry elites. Ultimately, Tangerine signals a complex turning point in trans media, whereby media industries increasingly value trans performers and consultants for their capacity to legitimize trans media, but trans industry workers continue to remain vulnerable within these industries’ complex power dynamics.
{"title":"Melancholy, respectability, and credibility in Sean Baker’s Tangerine","authors":"Paige Macintosh","doi":"10.1080/17400309.2023.2194781","DOIUrl":"https://doi.org/10.1080/17400309.2023.2194781","url":null,"abstract":"ABSTRACT A complex cinematic history of trans characters precedes contemporary representations of trans people — one of normalizing trans identity through class, gender, and race. In the context of contemporary American cinema, Sean Baker’s Tangerine (2015) demonstrates alternative strategies for representing trans characters and marks a turning point in trans cinema. Tangerine presents a grittier version of transgender experience than was seen in mainstream trans films released during the mid-2010s. The film challenges victimization narratives and the pathologization of the trans body, appealing directly to trans audiences. Moreover, the film’s trans-affirmative casting advocates trans agency, while its depictions of state and individual violence systematically critique conventional trans tropes in earlier trans films. However, the film’s paratexts re-affirm some of the industrial patterns that continue to marginalise trans industry workers. Prominent reviews and interviews with the cast and crew spotlight the redirection of this trans film’s cultural and financial capital away from trans workers and toward industry elites. Ultimately, Tangerine signals a complex turning point in trans media, whereby media industries increasingly value trans performers and consultants for their capacity to legitimize trans media, but trans industry workers continue to remain vulnerable within these industries’ complex power dynamics.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"21 1","pages":"211 - 235"},"PeriodicalIF":0.8,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46509862","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/17400309.2023.2211914
Henry Powell
{"title":"Digital space and embodiment in contemporary cinema: screening composite spaces","authors":"Henry Powell","doi":"10.1080/17400309.2023.2211914","DOIUrl":"https://doi.org/10.1080/17400309.2023.2211914","url":null,"abstract":"","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"21 1","pages":"370 - 373"},"PeriodicalIF":0.8,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42611050","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/17400309.2023.2207437
Matthew Connolly
ABSTRACT This special issue highlights a range of scholarship on LGBTQ+ film and media, encompassing a variety of subjects from across numerous decades and explored through a diverse range of methodologies. If these articles collectively define ‘queer/trans media now’, it is due to their capaciousness, dexterity, and generative provocation – qualities essential to articulating the value of queer/trans media and its study in an age of expanding potentiality and ever-growing backlash.
{"title":"Introduction: queer/trans media now","authors":"Matthew Connolly","doi":"10.1080/17400309.2023.2207437","DOIUrl":"https://doi.org/10.1080/17400309.2023.2207437","url":null,"abstract":"ABSTRACT This special issue highlights a range of scholarship on LGBTQ+ film and media, encompassing a variety of subjects from across numerous decades and explored through a diverse range of methodologies. If these articles collectively define ‘queer/trans media now’, it is due to their capaciousness, dexterity, and generative provocation – qualities essential to articulating the value of queer/trans media and its study in an age of expanding potentiality and ever-growing backlash.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"21 1","pages":"129 - 132"},"PeriodicalIF":0.8,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47705460","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/17400309.2023.2193521
Clara Bradbury-Rance
ABSTRACT This article discusses the ‘Netflix imaginary’ and how it shapes our understanding of queer taste and legibility in contemporary visual culture. While Netflix has promoted itself as a bastion of LGBTQ inclusivity and other forms of ‘diversity’, this article considers the platform not on the basis of celebrated LGBTQ ‘Netflix Originals’ such as Sex Education or Queer Eye but rather on how our navigations of the platform’s content throw our queer attachments and recommendations into pleasurable chaos. If the ‘Netflix imaginary’ is built around personalisation – that is, the promise of knowledge and insight – it more often generates bewilderment and surprise. But the article argues that this uncanny algorithmic meddling also has the potential to generate its own source of fun, entertainment and queer pleasure. By analysing what consumers are led to understand of the site’s dependence on and commitment to collaborative filtering, algorithmic signposting and customer agency and choice, I consider how we might employ a queer method for engaging subversively with Netflix’s representational inconsistencies and inadequacies – how we might see Netflix itself as a queer method for reconfiguring queer taste.
{"title":"‘Unique joy’: Netflix, pleasure and the shaping of queer taste","authors":"Clara Bradbury-Rance","doi":"10.1080/17400309.2023.2193521","DOIUrl":"https://doi.org/10.1080/17400309.2023.2193521","url":null,"abstract":"ABSTRACT This article discusses the ‘Netflix imaginary’ and how it shapes our understanding of queer taste and legibility in contemporary visual culture. While Netflix has promoted itself as a bastion of LGBTQ inclusivity and other forms of ‘diversity’, this article considers the platform not on the basis of celebrated LGBTQ ‘Netflix Originals’ such as Sex Education or Queer Eye but rather on how our navigations of the platform’s content throw our queer attachments and recommendations into pleasurable chaos. If the ‘Netflix imaginary’ is built around personalisation – that is, the promise of knowledge and insight – it more often generates bewilderment and surprise. But the article argues that this uncanny algorithmic meddling also has the potential to generate its own source of fun, entertainment and queer pleasure. By analysing what consumers are led to understand of the site’s dependence on and commitment to collaborative filtering, algorithmic signposting and customer agency and choice, I consider how we might employ a queer method for engaging subversively with Netflix’s representational inconsistencies and inadequacies – how we might see Netflix itself as a queer method for reconfiguring queer taste.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"21 1","pages":"133 - 157"},"PeriodicalIF":0.8,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44330534","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/17400309.2023.2205812
Gabriel Kitofi Tonelo
ABSTRACT This article presents a study of the creative process of Silverlake Life: The View from Here (Tom Joslin and Peter Friedman, 1993), from the perspective of its authorial multiplicity. Silverlake Life is regarded as one of the main representatives of autobiographical documentary in the 1990s. The specificity of the film is found in the circumstances of the death of the filmmaker-autobiographer, Tom Joslin. By recognizing a tripartite process of creative autonomy among Tom Joslin, Mark Massi and Peter Friedman, this article outlines both how each individual contributed to the achievement of the film and how Silverlake Life preserves its status as autobiographical documentary despite the tragic deaths of both Joslin and Massi before the film’s completion. This work of comprehending the film’s collaborative autobiographical process was made possible through the analysis of three extratextual sources: the original proposal for the film, written by Tom Joslin and which appears at the beginning of the narrative; the written diary of Mark Massi, Joslin’s widower; and extensive interviews with Peter Friedman on the subject.
{"title":"Death and collective autobiography in Silverlake Life: The View from Here","authors":"Gabriel Kitofi Tonelo","doi":"10.1080/17400309.2023.2205812","DOIUrl":"https://doi.org/10.1080/17400309.2023.2205812","url":null,"abstract":"ABSTRACT This article presents a study of the creative process of Silverlake Life: The View from Here (Tom Joslin and Peter Friedman, 1993), from the perspective of its authorial multiplicity. Silverlake Life is regarded as one of the main representatives of autobiographical documentary in the 1990s. The specificity of the film is found in the circumstances of the death of the filmmaker-autobiographer, Tom Joslin. By recognizing a tripartite process of creative autonomy among Tom Joslin, Mark Massi and Peter Friedman, this article outlines both how each individual contributed to the achievement of the film and how Silverlake Life preserves its status as autobiographical documentary despite the tragic deaths of both Joslin and Massi before the film’s completion. This work of comprehending the film’s collaborative autobiographical process was made possible through the analysis of three extratextual sources: the original proposal for the film, written by Tom Joslin and which appears at the beginning of the narrative; the written diary of Mark Massi, Joslin’s widower; and extensive interviews with Peter Friedman on the subject.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"21 1","pages":"267 - 291"},"PeriodicalIF":0.8,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48462047","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/17400309.2023.2206391
M. Stekl
ABSTRACT The time is out of joint in Moonlight (2016). While Barry Jenkins’ film appears to divide Chiron’s life into three chronological periods, each stage both repeats and anticipates something of the others, on the levels of both form and content – from the recurrence of heteronormative, antiBlack violence throughout Chiron’s life to the reprisal of the police-like flashes of light that cinematographically periodize his story, this narrative is (un)structured by repetition. This essay asks how Moonlight’s reiterative temporality might intervene in the ‘temporal turn’ in queer studies. By emphasizing the structuring repetition of antiBlackness, I want to complicate the utopian aspirations of queer futurism, in the vein of José Esteban Muñoz, as well as the psychoanalytic elision of race that defines queer anti-futurism, or the ‘anti-social thesis’, after Lee Edelman. What is the (non)place of Blackness in romances of queer futurity? In romances of queer negativity? In conversation with prior queer and Black scholarship on Moonlight, I argue that the film stages Blackness as a disruption to both straight and queer temporalities as we know them. Ultimately, I suggest that the film posits a third way out of the futurism/anti-futurism deadlock in queer studies: the iterability that (de)constructs Black(ness)’s narrative gestures toward an absolute open(ended)ness which is unrealizable as futurity and which is inextricable from the endlessly reiterated antiBlack, antiqueer violence of the modern world.
{"title":"Queer times in Moonlight","authors":"M. Stekl","doi":"10.1080/17400309.2023.2206391","DOIUrl":"https://doi.org/10.1080/17400309.2023.2206391","url":null,"abstract":"ABSTRACT The time is out of joint in Moonlight (2016). While Barry Jenkins’ film appears to divide Chiron’s life into three chronological periods, each stage both repeats and anticipates something of the others, on the levels of both form and content – from the recurrence of heteronormative, antiBlack violence throughout Chiron’s life to the reprisal of the police-like flashes of light that cinematographically periodize his story, this narrative is (un)structured by repetition. This essay asks how Moonlight’s reiterative temporality might intervene in the ‘temporal turn’ in queer studies. By emphasizing the structuring repetition of antiBlackness, I want to complicate the utopian aspirations of queer futurism, in the vein of José Esteban Muñoz, as well as the psychoanalytic elision of race that defines queer anti-futurism, or the ‘anti-social thesis’, after Lee Edelman. What is the (non)place of Blackness in romances of queer futurity? In romances of queer negativity? In conversation with prior queer and Black scholarship on Moonlight, I argue that the film stages Blackness as a disruption to both straight and queer temporalities as we know them. Ultimately, I suggest that the film posits a third way out of the futurism/anti-futurism deadlock in queer studies: the iterability that (de)constructs Black(ness)’s narrative gestures toward an absolute open(ended)ness which is unrealizable as futurity and which is inextricable from the endlessly reiterated antiBlack, antiqueer violence of the modern world.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"21 1","pages":"338 - 362"},"PeriodicalIF":0.8,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43478085","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/17400309.2023.2200686
Sergio Rigoletto
ABSTRACT Several critics have described Xavier Dolan as a gifted yet self-indulgent filmmaker. From the stylish costume design to the carefully composed arrangement of colors and objects within the mise en scène, Dolan’s films would seem to be guilty of an over-investment in the image. This essay interrogates the aesthetic and affective possibilities that the ostensibly intolerable textuality of Dolan’s films allows by focusing on their distinctive deployment of the musical parenthesis. What may one gain by indulging in the pleasures of the parenthetical mode? The expectation according to which such pleasures should be dispensed with moderation betrays suspicion towards a filmic mode of stylistic and emotional excess that oversteps certain boundaries and, in so doing, undermines hierarchies of value and taste. This essay questions the authoritative appeal of these hierarchies, arguing that there may be something valuable – and queer – about their displacement.
{"title":"On Xavier Dolan’s musical parentheses","authors":"Sergio Rigoletto","doi":"10.1080/17400309.2023.2200686","DOIUrl":"https://doi.org/10.1080/17400309.2023.2200686","url":null,"abstract":"ABSTRACT Several critics have described Xavier Dolan as a gifted yet self-indulgent filmmaker. From the stylish costume design to the carefully composed arrangement of colors and objects within the mise en scène, Dolan’s films would seem to be guilty of an over-investment in the image. This essay interrogates the aesthetic and affective possibilities that the ostensibly intolerable textuality of Dolan’s films allows by focusing on their distinctive deployment of the musical parenthesis. What may one gain by indulging in the pleasures of the parenthetical mode? The expectation according to which such pleasures should be dispensed with moderation betrays suspicion towards a filmic mode of stylistic and emotional excess that oversteps certain boundaries and, in so doing, undermines hierarchies of value and taste. This essay questions the authoritative appeal of these hierarchies, arguing that there may be something valuable – and queer – about their displacement.","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"21 1","pages":"158 - 186"},"PeriodicalIF":0.8,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48996573","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/17400309.2023.2196222
Sarah E. S. Sinwell
ABSTRACT Engaging with ideas of hegemonic masculinity, femininity, homosexuality, and heteronormativity, this article examines the film and television work of Joey Soloway as a means of studying the popularization of feminist and queer theory within contemporary American independent media. By focusing on representations of non-normative genders and sexualities (including sex work, transgender identity, and polyamory), I explore the ways in which Soloway pushes feminist and queer theory beyond the limits of the popular. Through overt references to feminist and queer filmmakers and theory, I argue that Soloway’s film and television work subverts traditional modes of storytelling. Examining Soloway’s first film Afternoon Delight and their two series for Amazon, Transparent (2014–2019) and I Love Dick (2016), as well as the coverage of Soloway’s work within the popular press (for example, The New York Times, Newsweek, Huffington Post, and Rolling Stone), this article also analyzes how Soloway’s own authorial persona and their public identification with queerness intertwines with the personal, the political, and the popular.
本文从男性霸权、女性霸权、同性恋和异性恋等观点出发，考察了乔伊·索洛维的影视作品，以此作为研究当代美国独立媒体中女权主义和酷儿理论的普及的一种手段。通过关注非规范性性别和性行为的表现(包括性工作、跨性别身份和一夫多妻制)，我探索了索洛维将女权主义和酷儿理论推向流行界限之外的方式。通过公开引用女权主义和酷儿电影制作人和理论，我认为索洛维的影视作品颠覆了传统的叙事模式。本文考察了索洛维的第一部电影《下午快乐》(Afternoon Delight)和他们为亚马逊(Amazon)制作的两部电视剧《透明》(Transparent, 2014-2019)和《我爱迪克》(I Love Dick, 2016)，以及大众媒体(如《纽约时报》、《新闻周刊》、《赫芬顿邮报》和《滚石》)对索洛维作品的报道。本文还分析了索洛维自己的作家形象和他们对酷儿身份的公开认同如何与个人、政治和大众交织在一起。
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Pub Date : 2023-04-03DOI: 10.1080/17400309.2023.2211569
A. d’Harcourt
{"title":"Transmasculinity on television","authors":"A. d’Harcourt","doi":"10.1080/17400309.2023.2211569","DOIUrl":"https://doi.org/10.1080/17400309.2023.2211569","url":null,"abstract":"","PeriodicalId":43549,"journal":{"name":"New Review of Film and Television Studies","volume":"21 1","pages":"363 - 366"},"PeriodicalIF":0.8,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44058750","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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