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When, for you, does gay film startfilms that we recognize as “gay” rather than “queer”? Who do you think of as the immediate post-Stonewall gay filmmakers? That’s something I imagine you want to do too. Many historians are working to complicate the myth of Stonewall as an absolute divide between the notion of queer-as-abject before Stonewall and gay-is-good after Stonewall. At the same time, every time we use it, we reinforce the convention. But the efflorescence of gay cinema that one finds in the 1970s, and which continues through the present day, definitely made that moment in the summer of 1969 a reasonable endpoint for the series.ĭC: Stonewall is such a convention at this point that we can’t not use it. Obviously, there are many other crucial episodes in the history of gay and trans liberation that predate Stonewalllike the Compton’s Cafeteria riot in San Francisco in 1966. TB: The use of Stonewall as a fulcrum is, on some level, arbitrary here. Because, of course, even the phrase “queer cinema” is a willful anachronism when used to describe the period before gay liberation.ĭC: It’s interesting that you say “before gay liberation” rather than “before Stonewall.”
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I think that the only way to organize a series like this is to operate with an elastic definition of the subject. Queer underground filmmakers were obsessed with Hollywood. To understand queer cinema you have to do that. It’s a wonderfully queer idea, what you’re doing, mixing mainstream Hollywood with independent cinema. In anticipation of this comprehensive survey, Artforum invited art historian and critic DOUGLAS CRIMP to speak with Beard about the series’ revisionist take on queer cinema before the gay liberation movement.ĭOUGLAS CRIMP: You talked to me about the “Queer Cinema Before Stonewall” series well before your recent appointment as programmer at large for the Film Society of Lincoln Center.
This month, the Film Society of Lincoln Center in New York presents “An Early Clue to the New Direction: Queer Cinema Before Stonewall” (April 22–May 1), organized by the FSLC’s newly appointed programmer at large, THOMAS BEARD. I may therefore protest-delete my profile in the near future, so if you use this list for reference, you might want to save a back-up.Alfred Hitchcock, Rope, 1948, 35 mm, color, sound, 80 minutes. You will have noticed that more and more content on this site is either artificial or paid for, which makes me increasingly hesitant to contribute or modify content. And I can't reply to messages here since I'm off Facebook since November 2016. The order is by year of original release, so if something seems to be missing, it may be at a different spot. "Köçek" (1975) is a transgender love story in Istanbul (!) with a big Turkish star of the time, Müjde Ar.
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I couldn't add the following titles even though they're on IMDb: "Nights in black Leather" (1973) is narcissist Peter Berlin's most famous blue movie and very telling as to how ancient certain fetishes are.
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I'm gradually including more titles so feel free to come back every once in a while. I'm only listing films with a recognizable LGBT angle, not exploitative ones or those where it's a matter of interpretation (for instance, Hitchcock's "Rope" can only be interpreted as gay-themed if one knows the real-life case by which it was inspired - and in "Spartacus", you got to catch on to what oysters are supposed to mean). It's got a long way to go so bear with me. Since quite a few people seem to use this list for reference, I'm revamping and upgrading it into two halves.