Overview[ edit ] Although lesbiangaybisexual and transgender individuals are generally indistinguishable from their straight or cisgender counterparts, media depictions of LGBT individuals often represent them as visibly and behaviorally different. For example, in many forms of popular entertainment, gay men are portrayed as promiscuous, flashy, and bold, while the reverse is often true of lesbian portrayals. Media representations of bisexual and transgender people tend to either be completely absent, or depicted as morally corrupt or mentally unstable. Similar to race- religion- and class-based caricatures, these stereotypical representations vilify or make light of marginalized and misunderstood groups.
Critic and historian B. Ruby Rich would describe the wave of films from the s radically confronting subjects of identity, politics, sex, and gender as the New Queer Cinema, but, as the Queer 90s series beginning today at the Metrograph opines, queer cinema of the time was as expansive as the word itself.
Programmed by Michael Lieberman, the series examines the radical, the ravishing, and the revolutionary queerness of the cinema of the s. I talked with Lieberman about the origin of the series, the changing cultural landscape, respectability politics, and what could be next for queer film. What was the impetus and why now?
Well, it was something I had thought about in recent years. Especially when looking at the landscape of queer films, or films with any queer subtext. Especially how it seems that films by queer people are designated to a less open space than when I was a teenager, in the s.
Or even films with interesting, dynamic, queer characters are all but missing from multiplexes. And I was told and my parents never told me not to see things that I could not watch it. And I remember asking my parents about the lesbian relationship in the film, and they were sort of at a loss at how to explain things.
But of course, as a gay man, it was different. But the mood of the film is intoxicating. Exploitative or otherwise, that always fascinates me.
I think the 90s was the last decade where this was prevalent at all. It was an era of centrist conservatism, that felt utterly stifling, but in retrospect there was a strange freedom about the time. In the aughts, queer films appeared in their own film festivals more and more, and sexuality in general was wiped from mainstream cinema.
Do you believe in that delineation? How do you think the line or lack thereof applies to the films you selected for the series? The 90s was also the era of erotic thrillers, too. Imagine that in Sure, I usually think of gay films as films about gay, lesbians, bisexual folks.
Queerness is about more. Gender identity, sexual expression, and something expressed in art as suggestive, rather than A or B gay or straight.
I think Basic Instinct is a queer experience, because of how open things in the film are, and how the sexual relationships are all indeterminate. And I think he uses queer in The Living End, its connotations the same as ours. And perhaps some may think of this as an outdated thing.
And perhaps it is to some extent.
Why do you think the New York film scene has decided to devote time to extensively catalogued and carefully curated series like these? Well, I think we forget how monumental the times we live in are, especially if one considers where things were 20 years ago.
The Pre-Stonewall series was programmed by my friend Thomas Beard, who did an incredible job of cataloguing the history of queer cinema prior to What went into creating the rhythm for the series?
The films span so many genres and styles. And for me, as someone who studied experimental film, I began with Sadie Benning, Warren Sonbert and Derek Jarman, as they made the most radical films of the period.
From there, I just took stock of what was released and created a very long list over films and pared down based on what prints were available, and by only showing one feature length film or program per filmmaker. So I wanted the series to be big picture and reflect as much as possible, without deviating too far.
That must have been difficult, paring down.Critic and historian B. Ruby Rich would describe the wave of films from the s radically confronting subjects of identity, politics, sex, and gender as the New Queer Cinema, but, as the Queer 90s series beginning today at the Metrograph opines, queer cinema of the time was as expansive as the word itself.
Programmed by Michael Lieberman, the. LGBT 12 Movies Curious Gay Kids Watched In The '90s. If you were young and figuring yourself out, these were the flicks you paid extra attention to.
Apr 12, · Currently held at a venue called The Hole, the party previously took place at the Bijou Theater, the country's oldest gay adult cinema and sex club before it closed in Queer Representation in Film and Television.
Diversity in Media, movie about “straight-acting” gay men who barely have sex and who cannot even accept their own desires is hardly a gay movie at all. Queer Cinema. In the ‘90s, New Queer Cinema challenged established notions that queer legitimacy could only come through assimilation.
The success of many gay-themed films at prestigious film festivals and the momentum generated by their concurrent releases encouraged Rich to coin the term “New Queer Cinema”, describing a movement which she hoped would create a transformative “new queer historiography” that even had the potential to define ’90s cinema.
Previously, Carell, like several members of The Year-Old Virgin’s cast, had been a peripheral part of one of SNL’s transition eras. In the mids, many of the .