The essays in American Cinema of the 1990s examine the big-budget blockbusters and critically acclaimed independent films that defined the decade. The 1990s' most popular genre, action, channeled anxieties about global threats such as AIDS and foreign terrorist attacks into escapist entertainment movies. Horror films and thrillers were on the rise, but family-friendly pictures and feel-good romances netted big audiences too. Meanwhile, independent films captured hearts, engaged minds, and invaded Hollywood: by decade's end every studio boasted its own "art film" affiliate.
The first book to focus on the connections between sexuality, activism, and documentary film.
From film festivals to university campuses, from private homes to first-run theaters, people everywhere are viewing and discussing gay, lesbian, queer, bisexual, and transgender films and videos. Between the Sheets, In the Streets considers these videos and films, testifying to the unavoidable connections between sexuality (the sheets) and activism (the streets) for all who identify as gay, lesbian, or queer in the 1990s.
This first collection of essays to focus exclusively on queer, lesbian, and gay documentary argues that documentary films and videos speak with a sense of political and social urgency, acting as testaments to the importance of reclaiming history and asserting the importance of these points of view. Among the topics discussed are representations of young queers on such shows as MTV’s The Real World; pre-Stonewall films; portrayals of lesbians and aging; video activism in Oregon and the South; and the works of Derek Jarman, Su Friedrich, Cheryl Dunye, and Sadie Benning. A range of films and videos is examined, including Strangers in Good Company, Paris Is Burning, Juggling Gender, Silverlake Life, and Without You I’m Nothing.Tracing an exhilarating range of perspectives and subject positions, Between the Sheets, In the Streets is an essential guide to current developments in queer, lesbian, and gay documentary. Contributors: Chris Cagle, Brown U; Linda Dittmar, U of Massachusetts, Boston; Lynda Goldstein, Pennsylvania State U, Wilkes-Barre Campus; Ronald Gregg, Drake U; Janet Jakobsen, U of Arizona; Lynda McAfee, New York Public Library; Kathleen McHugh, U of California, Riverside; Beverly Seckinger, U of Arizona; Marc Siegel, UCLA; Chris Straayer, Tisch School of the Arts; Erika Suderburg, U of California, Riverside; Thomas Waugh, Concordia U, Montreal; Justin Wyatt, U of North Texas.The contributors examine the work of Marie Menken, Joyce Wieland, Gunvor Nelson, Yvonne Rainer, Carolee Schneemann, Barbara Rubin, Amy Greenfield, Barbara Hammer, Chick Strand, Marjorie Keller, Leslie Thornton, Abigail Child, Peggy Ahwesh, Su Friedrich, and Cheryl Dunye. The essays highlight the diversity in these filmmakers’ forms and methods, covering topics such as how Menken used film as a way to rethink the transition from abstract expressionism to Pop Art in the 1950s and 1960s, how Rubin both objectified the body and investigated the filmic apparatus that enabled that objectification in her film Christmas on Earth (1963), and how Dunye uses film to explore her own identity as a black lesbian artist. At the same time, the essays reveal commonalities, including a tendency toward documentary rather than fiction and a commitment to nonhierarchical, collaborative production practices. The volume’s final essay focuses explicitly on teaching women’s experimental films, addressing logistical concerns (how to acquire the films and secure proper viewing spaces) and extending the range of the book by suggesting alternative films for classroom use.
Contributors. Paul Arthur, Robin Blaetz, Noël Carroll, Janet Cutler, Mary Ann Doane, Robert A. Haller, Chris Holmlund, Chuck Kleinhans, Scott MacDonald, Kathleen McHugh, Ara Osterweil, Maria Pramaggiore, Melissa Ragona, Kathryn Ramey, M. M. Serra, Maureen Turim, William C. Wees
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