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| the celluloid closet vito russo: The Celluloid Closet Vito Russo, 1981 Praised by the Chicago Tribune as an impressive study and written with incisive wit and searing perception--the definitive, highly acclaimed landmark work on the portrayal of homosexuality in film. |
| the celluloid closet vito russo: Celluloid Activist Michael Schiavi, 2011-05-10 Celluloid Activist is the biography of gay-rights giant Vito Russo, the man who wrote The Celluloid Closet: Homosexuality in the Movies, commonly regarded as the foundational text of gay and lesbian film studies and one of the first to be widely read. But Russo was much more than a pioneering journalist and author. A founding member of the Gay and Lesbian Alliance Against Defamation (GLAAD) and cofounder of the AIDS Coalition to Unleash Power (ACT UP), Russo lived at the center of the most important gay cultural turning points in the 1960s, 1970s, and 1980s. His life as a cultural Zelig intersects a crucial period of social change, and in some ways his story becomes the story of a developing gay revolution in America. A frequent participant at “zaps” and an organizer of Gay Activists Alliance (GAA) cabarets and dances—which gave the New York gay and lesbian community its first social alternative to Mafia-owned bars—Russo made his most enduring contribution to the GAA with his marshaling of “Movie Nights,” the forerunners to his worldwide Celluloid Closet lecture tours that gave gay audiences their first community forum for the dissection of gay imagery in mainstream film. Biographer Michael Schiavi unravels Vito Russo’s fascinating life story, from his childhood in East Harlem to his own heartbreaking experiences with HIV/AIDS. Drawing on archival materials, unpublished letters and journals, and more than two hundred interviews, including conversations with a range of Russo’s friends and family from brother Charlie Russo to comedian Lily Tomlin to pioneering activist and playwright Larry Kramer, Celluloid Activistprovides an unprecedented portrait of a man who defined gay-rights and AIDS activism. “Schiavi tells a compelling story in this biography—from his re-creation of life on the streets of East Harlem and in Greenwich Village of the 1960s and 1970s to the way he conveys Russo’s excitement about his film research and popular education to his account of the AIDS years in New York City.”—John D’Emilio, Italian American Review “In [Schiavi’s] hands Russo’s life is both fascinating in its own right and a window into a larger milieu of activism during two critical decades.”—Italian American Review Best Special Interest Books, selected by the American Association of School Librarians Best Books for General Audiences, selected by the Public Library Reviewers Finalist, Gay Memoir/Biography, Lambda Literary Awards Finalist, Over the Rainbow Selection, American Library Association |
| the celluloid closet vito russo: Screened Out Richard Barrios, 2005-02-16 Rapacious dykes, self-loathing closet cases, hustlers, ambiguous sophisticates, and sadomasochistic rich kids: most of what America thought it knew about gay people it learned at the movies. A fresh and revelatory look at sexuality in the Great Age of movie making, Screened Out shows how much gay and lesbian lives have shaped the Big Screen. Spanning popular American cinema from the 1900s until today, distinguished film historian Richard Barrios presents a rich, compulsively readable analysis of how Hollywood has used and depicted gays and the mixed signals it has given us: Marlene in a top hat, Cary Grant in a negligee, a pansy cowboy in The Dude Wrangler. Such iconoclastic images, Barrios argues, send powerful messages about tragedy and obsession, but also about freedom and compassion, even empowerment. Mining studio records, scripts, drafts (including cut scenes), censor notes, reviews, and recollections of viewers, Barrios paints our fullest picture yet of how gays and lesbians were portrayed by the dream factory, warning that we shouldn't congratulate ourselves quite so much on the progress movies - and the real world -- have made since Stonewall. Captivating, myth-breaking, and funny, Screened Out is for all film aficionados and for anyone who has sat in a dark movie theater and drawn strength and a sense of identity from what they saw on screen, no matter how fleeting or coded. |
| the celluloid closet vito russo: Monsters in the Closet Harry M. Benshoff, 1997-11-15 Monster in the Closet is a history of the horrors film that explores the genre's relationship to the social and cultural history of homosexuality in America. Drawing on a wide variety of films and primary source materials including censorship files, critical reviews, promotional materials, fanzines, men's magazines, and popular news weeklies, the book examines the historical figure of the movie monster in relation to various medical, psychological, religious and social models of homosexuality. While recent work within gay and lesbian studies has explored how the genetic tropes of the horror film intersect with popular culture's understanding of queerness, this is the first book to examine how the concept of the monster queer has evolved from era to era. From the gay and lesbian sensibilities encoded into the form and content of the classical Hollywood horror film, to recent films which play upon AIDS-related fears. Monster in the Closet examines how the horror film started and continues, to demonize (or quite literally monsterize) queer sexuality, and what the pleasures and costs of such representations might be both for individual spectators and culture at large. |
| the celluloid closet vito russo: Queer Cinema Harry M. Benshoff, Sean Griffin, 2004 Queer Cinema, the Film Reader brings together key writings that use queer theory to explore cinematic sexualities, especially those historically designated as gay, lesbian, bisexual and/or transgendered. |
| the celluloid closet vito russo: Queer Images Harry M. Benshoff, Sean Griffin, 2006 'Queer Images' chronicles the representation of lesbian, gay, bisexual and queer sexualities over 100 years in American film. This book explores not only the ever-changing images of queer characters onscreen, but also the work of queer filmmakers and the cultural histories of queer audiences. |
| the celluloid closet vito russo: Screening The Sexes Parker Tyler, 1993-08-21 Parker Tyler (1904-1974) was a noted American film critic, and this text is regarded as his most significant work. Devoted to homosexuality in films, it aims to look beyond the obvious and to observe the psychology of sex roles, at the same time recognising film as the realm of contemporary mythology. Tyler was once described as one of the most consistently interesting and provocative writers on film that America has produced, well-informed and free of cant. |
| the celluloid closet vito russo: Sleeping with Strangers David Thomson, 2019-01-29 In this wholly original work of film criticism, David Thomson, celebrated author of The Biographical Dictionary of Film, probes the many ways in which sexuality has shaped the movies—and the ways in which the movies have shaped sexuality. Exploring the tangled notions of masculinity, femininity, beauty, and sex that characterize our cinematic imagination—and drawing on examples that range from advertising to pornography, Bonnie and Clyde to Call Me by Your Name—Thomson illuminates how film as art, entertainment, and business has historically been a polite cover for a kind of erotic séance. In so doing, he casts the art and the artists we love in a new light, and reveals how film can both expose the fault lines in conventional masculinity and point the way past it, toward a more nuanced understanding of what it means to be a person with desires. |
| the celluloid closet vito russo: Out at the Movies Steven Paul Davies, Simon Callow, 2008-12-01 Over the decades, gay cinema has reflected the community's journey from persecution to emancipation to acceptance. Politicized dramas like Victim in the 1960s, The Naked Civil Servant in the 1970s, and the AIDS cinema of the 1980s have given way in recent years to films which celebrate a vast array of gay lifestyles. Gay films have undergone a major shift from the fringe to the mainstream—2005’s Academy Awards were dubbed the gay Oscars with statues going to Brokeback Mountain, Capote, and Transamerica. Producers began clamoring to back gay-themed movies and the most high profile of these is Gus Van Sant’s forthcoming Milk, starring Sean Penn as Harvey Milk, the first prominent American political figure to be elected to office on an openly gay ticket back in the 1970s. The book also covers gay filmmakers and actors and their influence within the industry, the most iconic scenes from gay cinema, and the most memorable dialogue from key films. |
| the celluloid closet vito russo: Open Secret David Ehrenstein, 1998-09-16 Hollywood isn't just a place or an industry -- it's a fantasy that unfolds in the minds of moviegoers the world over. And talking about who's gay in Hollywood has always been the most socially acceptable way of talking about homosexuality period.But times have changed for gays and lesbians inside Hollywood and in the culture at large. Ellen DeGeneres came out to a world quite different from the one that allowed Marlene Dietrich to stay in. And while Rupert Everett may be called the gay Cary Grant, the real Cary Grant would never have described himself as gay -- even though he was.So what has it meant to be gay in Hollywood, not just as a star but behind the scenes as well? How homosexual actors and actresses came to define straight America's sexual self-image is only one of the paradoxical and provocative questions explored in Open Secret, a revealing cultural chronicle of gay Hollywood. From the silent era to the age of the multiplex and beyond, homosexuality has been a fact of life in the film industry, and scores of important personalities -- stars, writers, directors, producers -- have enjoyed long and spectacular careers on both sides of the camera, despite mainstream America's professed bias against gays. Part social history and part Tinseltown expose, this entertaining book spans seventy years, painting knowing and vivid portraits of many of Hollywood's foremost gays and lesbians, often in the words of eyewitnesses or the principals themselves. Veteran entertainment journalist David Ehrenstein traces the gradual transformation from an era when gays and lesbians had no public profile in polite society to the modern era when many top entertainment figures are not merely comfortable with their sexuality but actually celebrate it -- and are in turn celebrated for it. In the process, he presents a unique reflection of American society as a whole and its ever-changing attitudes and values. |
| the celluloid closet vito russo: New Queer Cinema B. Ruby Rich, 2013-03-26 B. Ruby Rich designated a brand new genre, the New Queer Cinema (NQC), in her groundbreaking article in the Village Voice in 1992. This movement in film and video was intensely political and aesthetically innovative, made possible by the debut of the camcorder, and driven initially by outrage over the unchecked spread of AIDS. The genre has grown to include an entire generation of queer artists, filmmakers, and activists. As a critic, curator, journalist, and scholar, Rich has been inextricably linked to the New Queer Cinema from its inception. This volume presents her new thoughts on the topic, as well as bringing together the best of her writing on the NQC. She follows this cinematic movement from its origins in the mid-1980s all the way to the present in essays and articles directed at a range of audiences, from readers of academic journals to popular glossies and weekly newspapers. She presents her insights into such NQC pioneers as Derek Jarman and Isaac Julien and investigates such celebrated films as Go Fish, Brokeback Mountain, Itty Bitty Titty Committee, and Milk. In addition to exploring less-known films and international cinemas (including Latin American and French films and videos), she documents the more recent incarnations of the NQC on screen, on the web, and in art galleries. |
| the celluloid closet vito russo: Tinker Belles and Evil Queens Sean P. Griffin, 2000-02-01 The first book to address the interaction between the Walt Disney Company and the gay community From its Magic Kingdom theme parks to its udderless cows, the Walt Disney Company has successfully maintained itself as the brand name of conservative American family values. But the Walt Disney Company has also had a long and complex relationship to the gay and lesbian community that is only now becoming visible. In Tinker Belles and Evil Queens, Sean Griffin traces the evolution of this interaction between the company and gay communities, from the 1930s use of Mickey Mouse as a code phrase for gay to the 1990s Gay Nights at the Magic Kingdom. Armed with first-person accounts from Disney audiences, Griffin demonstrates how Disney animation, live-action films, television series, theme parks, and merchandise provide varied motifs and characteristics that readily lend themselves to use by gay culture. But Griffin delves further to explore the role of gays and lesbians within the company, through an examination of the background of early studio personnel, an account of sexual activism within the firm, and the story of the company's own concrete efforts to give recognition to gay voices and desires. The first book to address the history of the gay community and Disney, Tinker Belles and Evil Queens broadly examines the ambiguous legacy of how modern consumerism and advertising have affected the ways lesbians and gay men have expressed their sexuality. Disney itself is shown as sensitive to gay and lesbian audiences, while exploiting those same audiences as a niche market with strong buying power. Finally, Griffin demonstrates how queer audiences have co-opted Disney products for themselves-and in turn how Disney's corporate strategies have influenced our very definitions of sexuality. |
| the celluloid closet vito russo: Death in Venice Will Aitken, 2011-11-15 A Queer Film Classic on Luchino Visconti’s lyrical 1971 film adaptation of the Thomas Mann novel. |
| the celluloid closet vito russo: The Celluloid Closet Vito Russo, 1987-09-20 Examines the portrayal of homosexual characters in the movies and how it reflects society's beliefs and misconceptions. |
| the celluloid closet vito russo: Cold War Femme Robert J. Corber, 2011-01-27 Interpretations of Hollywood films of the 1950s and 1960s demonstrate how Cold War homophobia focused on the femme as the lesbian who posed the greatest threat to the nation. |
| the celluloid closet vito russo: Bisexual Characters in Film Wayne M Bryant, 2013-10-23 How far have we progressed from the days when showing a film such as Jack Smith’s Flaming Creatures landed the cinema’s programmer, projectionist, and ticket taker in jail? What are some of the hidden clues modern audiences are overlooking in older films that suggest a character’s bisexuality? Which famous actors, actresses, directors, and screenwriters were attracted to people of both sexes? In Bisexual Characters in Film, the first book to focus on the role of bisexual characters in film, you’ll find answers to these questions and many more as you explore, analyze, and celebrate 80 years of bisexual movie characters (and the people who have created them) from around the world. A lively, entertaining, and informative commentary, this book examines the treatment of bisexual film characters and shows you how that treatment has been affected by societal forces such as censorship, politics, religious prejudices, homophobia, and sexual stereotypes. Bisexual Characters in Film looks at the contribution of bisexual people (and others who have had lovers of varying sexes) to the body of work available on film today. These include the directors, writers, actors, composers, and designers whose sexual orientation has informed their work. An analysis of the Motion Picture Production Code and its devastating effect on bisexual and homosexual screen images forms an important part of the book. You learn how, specifically, it eradicated gay, lesbian, and bisexual characters from Hollywood films as well as the role of bisexual, lesbian, and gay filmmakers in finally defeating it. Other questions you’ll find answers to include: Who, or what, is a bisexual? How were bisexual characters represented in silent film, before the forces of censorship banned them from the screen? What bisexual myths and stereotypes are portrayed on film? What is the role of “camp” in bisexual film? Bisexual Characters in Film is a unique resource for researchers; librarians; film festival planners; the queer media; professors and students of lesbian, gay, and bisexual studies; bisexual activists; and general bisexual, gay, lesbian, and transgendered readers. It provides a much-needed view of bisexual representations in a major segment of our popular culture. |
| the celluloid closet vito russo: Celluloid Activist Michael Schiavi, 2011-05-10 Celluloid Activist is the biography of gay-rights giant Vito Russo, the man who wrote The Celluloid Closet: Homosexuality in the Movies, commonly regarded as the foundational text of gay and lesbian film studies and one of the first to be widely read. But Russo was much more than a pioneering journalist and author. A founding member of the Gay and Lesbian Alliance Against Defamation (GLAAD) and cofounder of the AIDS Coalition to Unleash Power (ACT UP), Russo lived at the center of the most important gay cultural turning points in the 1960s, 1970s, and 1980s. His life as a cultural Zelig intersects a crucial period of social change, and in some ways his story becomes the story of a developing gay revolution in America. A frequent participant at “zaps” and an organizer of Gay Activists Alliance (GAA) cabarets and dances—which gave the New York gay and lesbian community its first social alternative to Mafia-owned bars—Russo made his most enduring contribution to the GAA with his marshaling of “Movie Nights,” the forerunners to his worldwide Celluloid Closet lecture tours that gave gay audiences their first community forum for the dissection of gay imagery in mainstream film. Biographer Michael Schiavi unravels Vito Russo’s fascinating life story, from his childhood in East Harlem to his own heartbreaking experiences with HIV/AIDS. Drawing on archival materials, unpublished letters and journals, and more than two hundred interviews, including conversations with a range of Russo’s friends and family from brother Charlie Russo to comedian Lily Tomlin to pioneering activist and playwright Larry Kramer, Celluloid Activistprovides an unprecedented portrait of a man who defined gay-rights and AIDS activism. “Schiavi tells a compelling story in this biography—from his re-creation of life on the streets of East Harlem and in Greenwich Village of the 1960s and 1970s to the way he conveys Russo’s excitement about his film research and popular education to his account of the AIDS years in New York City.”—John D’Emilio, Italian American Review “In [Schiavi’s] hands Russo’s life is both fascinating in its own right and a window into a larger milieu of activism during two critical decades.”—Italian American Review Best Special Interest Books, selected by the American Association of School Librarians Best Books for General Audiences, selected by the Public Library Reviewers Finalist, Gay Memoir/Biography, Lambda Literary Awards Finalist, Over the Rainbow Selection, American Library Association |
| the celluloid closet vito russo: Alien Zone Annette Kuhn, 1990 This is especially true of the science fiction film--a genre as old as cinema itself--which has rarely received the serious attention devoted to such genres as the western, the film noir and recently, under the aegis of feminist film theory, the so-called woman's film. Alien Zone aims to bring science fiction cinema fully into the ambit of cultural theory in general and of film theory in particular. The essays in this book--some newly written, others gathered from scattered sources--look at the ways in which contemporary science fiction films draw on, rework, and transform established themes and conventions of the genre: the mise-en-scene of future worlds; the myth of masculine mastery of nature; power and authority and their relation to technology. This material is ordered and contextualized by the editor with a view to exploring how science fiction cinema has been approached critically and theoretically by commentators on the genre: as a mirror of society, as bearing or producing ideology; as caught up in an intertext of media productions, or as expressing unconscious desires. Contributors include Giuliana Bruno, Scott Bukatman, Thomas B. Byers, Barbara Creed, Anne Cranny-Francis, Daniel Dervin, H. Bruce Franklin, James H. Kavanagh, Douglas Kelner, Steve Neale, Judith Newton, Constance Penley, Hugh Ruppersberg, Michael Ryan, Vivian Sobchack, Michael Stern, J. P. Telotte, and Paul Virilio. |
| the celluloid closet vito russo: Running Time Nora Sayre, 1982 |
| the celluloid closet vito russo: It's Okay with Me Jason Bailey, 2018-07-09 One of the cornerstones of the 1970s New Hollywood movement was the reinvention of genres from the studio era, with Westerns, musicals, and gangster movies getting the revisionist treatment by the so-called Film Brats who were raised on them. But few genres were revisited with as much vigor as the private eye movie - which found New Hollywood icons like Robert Altman, Roman Polanski, and Arthur Penn putting their distinctive spin on the timeworn conventions of the gumshoe film. So what was it about the private eye movie that was so compelling at that particular juncture, in both film history and American life? In It's Okay With Me, author Jason Bailey dives deep into the essential detective pictures of the era, breaking down how they bridged past and present, while examining how each film was not only representative of New Hollywood, but of the wider cultural moment. |
| the celluloid closet vito russo: Queer Media Images Jane Campbell, Theresa Carilli, 2013 Addresses how lesbian, gay, bisexual, and transgendered people are depicted across a wide variety of media. Focuses on how the LGBT community has been silenced or given voice, scrutinizes LGBT media representations, and provides a snapshot into the issues surrounding LGBT identity during a time when the Defense of Marriage Act is called into question. |
| the celluloid closet vito russo: Images in the Dark Raymond Murray, 1998 This fully revised and updated edition reviews over 3000 films and videos. As a companion to gay and lesbian cinema, it also covers homosexual directors, gay characters and plots, sympathetic film-makers and gay icons. |
| the celluloid closet vito russo: Girls Will Be Boys Laura Horak, 2016-02-26 2016 Choice Outstanding Academic Title Finalist for 2016 Richard Wall Memorial Award by the Theatre Library Long listed for the 2017 Kraszna-Krausz Best Photography Book Award from the Kraszna-Krausz Foundation Marlene Dietrich, Greta Garbo, and Katharine Hepburn all made lasting impressions with the cinematic cross-dressing they performed onscreen. What few modern viewers realize, however, is that these seemingly daring performances of the 1930s actually came at the tail end of a long wave of gender-bending films that included more than 400 movies featuring women dressed as men. Laura Horak spent a decade scouring film archives worldwide, looking at American films made between 1908 and 1934, and what she discovered could revolutionize our understanding of gender roles in the early twentieth century. Questioning the assumption that cross-dressing women were automatically viewed as transgressive, she finds that these figures were popularly regarded as wholesome and regularly appeared onscreen in the 1910s, thus lending greater respectability to the fledgling film industry. Horak also explores how and why this perception of cross-dressed women began to change in the 1920s and early 1930s, examining how cinema played a pivotal part in the representation of lesbian identity. Girls Will Be Boys excavates a rich history of gender-bending film roles, enabling readers to appreciate the wide array of masculinities that these actresses performed—from sentimental boyhood to rugged virility to gentlemanly refinement. Taking us on a guided tour through a treasure-trove of vintage images, Girls Will Be Boys helps us view the histories of gender, sexuality, and film through fresh eyes. |
| the celluloid closet vito russo: The Lavender Screen Boze Hadleigh, 2001-01-01 A fascinating glimpse into the beginning and development of gay- and lesbian-themed films, from Maedchen in Uniform in 1931 to such current films as Philadelphia and Wilde, provides reviews and evaluations, and details the director's attitude toward public response and criticism. Original. |
| the celluloid closet vito russo: Cinema and Spectatorship Judith Mayne, 2002-09-11 Cinema and Spectatorship is the first book to focus entirely on the history and role of the spectator in contemporary film studies. While 1970s film theory insisted on a distinction betweeen the cinematic subject and film-goers, Judith Mayne suggests that a very real friction between subjects and viewers is in fact central to the study of spectatorship. In the book's first section Mayne examines three theoretical models of spectatorship: the perceptual, the institutional and the historical, while the second section focuses on case studies which crystallize many of the issues already discussed, concentrating on textual analysis, the `disrupting genre', `star-gazing' and finally the audience itself. Case studies incude the place of the spectator in the textual analysis of individual films such as The Picture of Dorian Gray; the construction of Bette Davis' star persona; fantasies of race and film viewing in Field of Dreams and Ghost; and gay and lesbian audiences as critical audiences. The book provides a very thorough and accessible overview of this complex, fragmented and often controversial area of film theory. |
| the celluloid closet vito russo: Hispanic Hollywood George Hadley-Garcia, 1990 |
| the celluloid closet vito russo: The Vinyl Closet Boze Hadleigh, 1991 |
| the celluloid closet vito russo: Gay Men at the Movies Scott McKinnon, 2016 |
| the celluloid closet vito russo: Now You See it Richard Dyer, Julianne Pidduck, 2003 This study of films by and about lesbians and gay men has been revised for a second edition and features an introduction outlining developments in lesbian and gay cinema since 1990. |
| the celluloid closet vito russo: Making Things Perfectly Queer Alexander Doty, 1993 |
| the celluloid closet vito russo: Screen Dreams Clare Whatling, 1997 From Streep to Foster, Maidens in Uniform to Heavenly Creatures, Whatling reinvestigates mainstream feminist film theory, & provides an engaging introduction to a complex area, whilst drawing on the relationship between an audience & a film text. |
| the celluloid closet vito russo: The Destiny of Me Larry Kramer, 1993 In the companion play to the acclaimed hit The Normal Heart, Kramer continues the story of Ned Weeks. Ten years later and now HIV+, Ned seeks to understand his life as a gay man and as a leader of the AIDS activist movement. Kramer is the founder of ACT-UP. |
| the celluloid closet vito russo: Understanding Screenwriting Tom Stempel, Stempel guides the reader through a cross section of cinema - historical epic, adventure, science fiction, teen comedy, drama, romantic comedy, suspense - films with budgets large and small. Selective in its discussions and (sometimes withering) analyses, Stempel dissects the blockbusters and the bombs, discusses why certain aspects of a screenplay work and others do not, explains the difference between the film we watch and what was, the screenplay, and lays out some of screenwriting's hard and fast taboos, only to give examples of screenplays that break them, with successful results. Full of insight for novice and expert screenwriters alike, this is the perfect book for anyone looking to gain a deeper understanding of how screenplays work. |
| the celluloid closet vito russo: Body Counts Sean Strub, 2014-01-14 The founder of POZ magazine shares “a captivating…eyewitness account from inside the AIDS epidemic” (Next) and “a moving, multi-decade memoir of one gay man’s life” (San Francisco Chronicle). As a politics-obsessed Georgetown freshman, Sean Strub arrived in Washington, DC, from Iowa in 1976, with a plum part-time job running a Senate elevator in the US Capitol. He also harbored a terrifying secret: his attraction to men. As Strub explored the capital’s political and social circles, he discovered a parallel world where powerful men lived double lives shrouded in shame. When the AIDS epidemic hit in the early 1980s, Strub was living in New York and soon found himself attending “more funerals than birthday parties.” Scared and angry, he turned to radical activism to combat discrimination and demand research. Strub takes you through his own diagnosis and inside ACT UP, the organization that transformed a stigmatized cause into one of the defining political movements of our time. From the New York of Studio 54 and Andy Warhol’s Factory to the intersection of politics and burgeoning LGBT and AIDS movements, Strub’s story crackles with history. He recounts his role in shocking AIDS demonstrations at St. Patrick’s Cathedral as well as at the home of US Senator Jesse Helms. With an astonishing cast of characters, including Tennessee Williams, Gore Vidal, Keith Haring, Bill Clinton, and Yoko Ono, this is a vivid portrait of a tumultuous era: “A page-turner…[with] the suspense and horror of Paul Monette’s memoir Borrowed Time and the drama of Larry Kramer’s play The Normal Heart….What a lot of action—and life—there is in this gripping book” (The Washington Post). |
| the celluloid closet vito russo: Terence Davies Michael Koresky, 2014-10-15 Called the most important British filmmaker of his generation, Terence Davies made his reputation with modern classics like Distant Voices, Still Lives and The Long Day Closes, personal works exploring his fractured childhood in Liverpool. His idiosyncratic and unorthodox narrative films defy easy categorization, as their seeming existence within realism and personal memory cinema is undermined by an abstractness that makes the way he lays bare personal pain come across as distant, even alien. Film critic Michael Koresky explores the unique emotional tenor of Davies's work by focusing on four paradoxes within the director's oeuvre: films that are autobiographical yet fictional; melancholy yet elating; conservative in tone and theme yet radically constructed; and obsessed with the passing of time yet frozen in time and space. Through these contradictions, the films' intricate designs reveal a cumulative, deeply personal meditation on the self. Koresky also analyzes how Davies's ongoing negotiation of--and struggle with--questions of identity related to his past and his homosexuality imbue the details and jarring juxtapositions in his films with a queer sensibility, which is too often overlooked due to the complexity of Davies's work and his unfashionable ambivalence toward his own sexual orientation. |
| the celluloid closet vito russo: Stonewall David Carter, 2004 In 1969, a series of riots over police action against The Stonewall Inn, a gay bar in New York City's Greenwich Village, changed the longtime landscape of the homosexual in society literally overnight. |
| the celluloid closet vito russo: The Stonewall Reader New York Public Library, Jason Baumann, 2019-04-30 For the fiftieth anniversary of the Stonewall uprising, an anthology chronicling the tumultuous fight for LGBTQ rights in the 1960s and the activists who spearheaded it, with a foreword by Edmund White. Finalist for the Randy Shilts Award for Gay Nonfiction, presented by The Publishing Triangle Tor.com, Best Books of 2019 (So Far) Harper’s Bazaar, The 20 Best LGBTQ Books of 2019 The Advocate, The Best Queer(ish) Non-Fiction Tomes We Read in 2019 June 28, 2019 marks the fiftieth anniversary of the Stonewall uprising, which is considered the most significant event in the gay liberation movement, and the catalyst for the modern fight for LGBTQ rights in the United States. Drawing from the New York Public Library's archives, The Stonewall Reader is a collection of first accounts, diaries, periodic literature, and articles from LGBTQ magazines and newspapers that documented both the years leading up to and the years following the riots. Most importantly the anthology spotlights both iconic activists who were pivotal in the movement, such as Sylvia Rivera, co-founder of Street Transvestites Action Revolutionaries (STAR), as well as forgotten figures like Ernestine Eckstein, one of the few out, African American, lesbian activists in the 1960s. The anthology focuses on the events of 1969, the five years before, and the five years after. Jason Baumann, the NYPL coordinator of humanities and LGBTQ collections, has edited and introduced the volume to coincide with the NYPL exhibition he has curated on the Stonewall uprising and gay liberation movement of 1969. |
| the celluloid closet vito russo: Disidentifications José Esteban Muñoz, 1999 There is more to identity than identifying with one's culture or standing solidly against it. Jose Esteban Munoz looks at how those outside the racial and sexual mainstream negotiate majority culture -- not by aligning themselves with or against exclusionary works but rather by transforming these works for their own cultural purposes. Munoz calls this process disidentification, and through a study of its workings, he develops a new perspective on minority performance, survival, and activism. Disidentifications is also something of a performance in its own right, an attempt to fashion a queer world by working on, with, and against dominant ideology. Whether examining the process of identification in the work of filmmakers, performance artists, ethnographers, Cuban choteo, forms of gay male mass culture (such as pornography), museums, art photography, camp and drag, or television, Munoz persistently points to the intersecting and short-circuiting of identities and desires that result from misalignments with the cultural and ideological mainstream in contemporary urban America. Munoz calls attention to the world-making properties found in performances by queers of color -- in Carmelita Tropicana's Camp/Choteo style politics, Marga Gomez's performances of queer childhood, Vaginal Creme Davis's Terrorist Drag, Isaac Julien's critical melancholia, Jean-Michel Basquiat's disidentification with Andy Warhol and pop art, Felix Gonzalez-Torres's performances of disidentity, and the political performance of Pedro Zamora, with AIDS, within the otherwise artificial a person environment of the MTV serial The Real World. |
| the celluloid closet vito russo: The Original Sin Anthony Quinn (Filmschauspieler), 1972 |
| the celluloid closet vito russo: Queer Cinema in the World Karl Schoonover, Rosalind Galt, 2016-12-09 Proposing a radical vision of cinema's queer globalism, Karl Schoonover and Rosalind Galt explore how queer filmmaking intersects with international sexual cultures, geopolitics, and aesthetics to disrupt dominant modes of world making. Whether in its exploration of queer cinematic temporality, the paradox of the queer popular, or the deviant ecologies of the queer pastoral, Schoonover and Galt reimagine the scope of queer film studies. The authors move beyond the gay art cinema canon to consider a broad range of films from Chinese lesbian drama and Swedish genderqueer documentary to Bangladeshi melodrama and Bolivian activist video. Schoonover and Galt make a case for the centrality of queerness in cinema and trace how queer cinema circulates around the globe–institutionally via film festivals, online consumption, and human rights campaigns, but also affectively in the production of a queer sensorium. In this account, cinema creates a uniquely potent mode of queer worldliness, one that disrupts normative ways of being in the world and forges revised modes of belonging. |
Celluloid - Wikipedia
Celluloids are a class of materials produced by mixing nitrocellulose and camphor, often with added dyes and other agents.
Celluloid | Synthetic Plastic, Film & Manufacturing | Britannica
A tough, flexible, and moldable material that is resistant to water, oils, and dilute acids and capable of low-cost production in a variety of colours, celluloid was made into toiletry articles, novelties, …
What You Need to Know About Celluloid - The Spruce Crafts
Dec 2, 2019 · Celluloid is a trade name, like Band-Aid or Kleenex, but the term has been generically used for many years to reference a type of plastic material invented in the mid-1800s. It was …
Celluloid: The Eternal Substitute - Science History Institute
Nov 12, 2011 · Celluloid, developed in the late 19th century, launched the modern age of man-made plastics. At first celluloid was an eternal substitute—an inexpensive imitation of ivory, …
American History Highlights Celluloid and the Dawn of the …
Jul 1, 2010 · Enter inventor John Wesley Hyatt who—in spite of professional chemists' warnings of causing an explosion—blended camphor with nitrocellulose and produced a hard, moldable …
What Is Celluloid? (An Antique Guide with Values) - Heart
Jul 18, 2023 · Celluloid is the term coined by John Wesley Hyatt for a plastic material he patented in 1870. He compressed cellulose (e.g., paper pulp) and adhesive gum (e.g., camphor) under heat …
Celluloid - New World Encyclopedia
Celluloid is the name of a class of compounds created from nitrocellulose (or cellulose nitrate) and camphor, plus dyes and other agents. Generally regarded as the first thermoplastic, it was first …
Celluloid - National Museum of American History
May 31, 2013 · Initially made to imitate natural materials, celluloid was mainly used to manufacture inexpensive yet stylish goods, ranging from beauty accessories and home wares to postcards …
The Celluloid Collective
The Celluloid Collective is a vibrant community fueled by a deep love for all things film! Our mission is simple: to preserve and celebrate the artistry of film in every form—be it still photography, …
What is celluloid, and why is it not the same as cellulose nitrate ...
Celluloid is usually cited as the first synthetic plastic. Its origins go back as far as the 1850s, but as a commercial product it is to be dated to the 1860s, with successful large-scale manufacture …
Celluloid - Wikipedia
Celluloids are a class of materials produced by mixing nitrocellulose and camphor, often with added dyes and other agents.
Celluloid | Synthetic Plastic, Film & Manufacturing | Britannica
A tough, flexible, and moldable material that is resistant to water, oils, and dilute acids and capable of low-cost production in a variety of colours, celluloid was made into toiletry articles, …
What You Need to Know About Celluloid - The Spruce Crafts
Dec 2, 2019 · Celluloid is a trade name, like Band-Aid or Kleenex, but the term has been generically used for many years to reference a type of plastic material invented in the mid …
Celluloid: The Eternal Substitute - Science History Institute
Nov 12, 2011 · Celluloid, developed in the late 19th century, launched the modern age of man-made plastics. At first celluloid was an eternal substitute—an inexpensive imitation of ivory, …
American History Highlights Celluloid and the Dawn of the …
Jul 1, 2010 · Enter inventor John Wesley Hyatt who—in spite of professional chemists' warnings of causing an explosion—blended camphor with nitrocellulose and produced a hard, moldable …
What Is Celluloid? (An Antique Guide with Values) - Heart
Jul 18, 2023 · Celluloid is the term coined by John Wesley Hyatt for a plastic material he patented in 1870. He compressed cellulose (e.g., paper pulp) and adhesive gum (e.g., camphor) under …
Celluloid - New World Encyclopedia
Celluloid is the name of a class of compounds created from nitrocellulose (or cellulose nitrate) and camphor, plus dyes and other agents. Generally regarded as the first thermoplastic, it was first …
Celluloid - National Museum of American History
May 31, 2013 · Initially made to imitate natural materials, celluloid was mainly used to manufacture inexpensive yet stylish goods, ranging from beauty accessories and home wares …
The Celluloid Collective
The Celluloid Collective is a vibrant community fueled by a deep love for all things film! Our mission is simple: to preserve and celebrate the artistry of film in every form—be it still …
What is celluloid, and why is it not the same as cellulose nitrate ...
Celluloid is usually cited as the first synthetic plastic. Its origins go back as far as the 1850s, but as a commercial product it is to be dated to the 1860s, with successful large-scale …
