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.
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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: 10.1080/17400309.2023.2211569
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}
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: 10.1080/17400309.2023.2200686
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.
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Pub Date : 2023-03-20DOI: 10.1080/17400309.2023.2176156
Bettina Henzler
ABSTRACT This paper establishes the motif of ‘child spectators’ within the self-reflexive tradition of modern European cinema since the 1940s and within discourses on the affinity of childhood and cinema, dating back to the beginning of the twentieth century. Through a close reading of The spirit of the beehive (Víctor Erice, 1973) and Jacquot de Nantes (Agnès Varda, 1991) that deals with the impact of the cinema experience on a child’s life, I analyze how this motif stages spectatorship, cinephilia, and filmmaking. First, I show how these films reflect on the impact of film experience and the process of film education as based on the existential being described by phenomenology. Second, I argue that this motif implies specific aesthetic strategies that are often linked to childhood and cinema. The child spectator calls for the understanding of childhood as a film aesthetical category and invites us to engage in a distinctive form of spectatorship. If the children in these films represent and address the phenomenological dimension of film experience, they also invite us, third, to reconsider aspects rarely addressed by phenomenology, especially the integration of imagination and materiality in film experience, and the interdependence of film experience and education.
摘要:本文在20世纪40年代以来现代欧洲电影的自我反思传统以及20世纪初关于儿童与电影的亲和力的话语中建立了“儿童观众”的母题。通过仔细阅读《蜂巢的精神》(Víctor Erice, 1973)和《雅克·德·南特》(Jacquot de Nantes, agn·瓦尔达，1991)，探讨了电影体验对儿童生活的影响，我分析了这一主题是如何影响观众、电影癖和电影制作的。首先，我以现象学描述的存在存在为基础，展示了这些电影如何反映电影经验的影响和电影教育的过程。其次，我认为这个主题暗示了特定的美学策略，通常与童年和电影有关。儿童观众要求理解童年作为一个电影美学范畴，并邀请我们参与一种独特的观看形式。如果这些电影中的孩子代表和解决了电影经验的现象学维度，他们也邀请我们重新考虑现象学很少涉及的方面，特别是电影经验中想象力和物质性的融合，以及电影经验与教育的相互依存关系。
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Pub Date : 2023-03-07DOI: 10.1080/17400309.2023.2174764
Laura Rascaroli
ABSTRACT Oculocentric perspectives are often dominant in descriptions of the city essay film. Whether flâneurial, observational, lyrical or visionary, the gaze is often placed at the centre of the filmic perception of the city, which is itself conceived of as a sight, image, or palimpsest. In this article, I reflect on the centrality of noise to modernity, and of capitalism to urban sound. In doing so, I pursue a dual goal: to foreground a sound-based understanding of the city through the essay film; and to ask how sound can help us understand the city essay film as a critique at once of the metropolis’ entanglement with capitalism and of the cinema’s historical contribution to the creation of the city as spectacle. A workable definition of the city essay film as an object of theory is attained via an engagement with urban and sound studies, and the discussion of sound design and sound discourse in Many Undulating Things (2019), a geopolitical essay by Bo Wang and Pan Lu about Hong Kong.
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Pub Date : 2023-02-07DOI: 10.1080/17400309.2023.2170667
Dominic Lash
ABSTRACT This article explores the work of the critic V.F. Perkins in the light of the concept of description, and vice versa. It argues that a range of distinct senses of description come together in Perkins’s work, and uses that work to assist in the construction of some proposals about the function and value of description in films and film criticism. Perkins had, it is argued, a particular interest in films that explore what might be referred to as ‘failures of redescription’, including Max Ophüls’s Letter from an Unknown Woman and Elia Kazan’s America, America. His writings on these films are explored with a view to demonstrating the ways in which the descriptive practices Perkins used in his writing can bring out rich and fascinating connections between criticism as an ethical practice with affinities to moral philosophy (via a concern with appropriate act descriptions) and the descriptions that are traced by films themselves.
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