Mysteries Behind Cinéma

OVERVIEW

The highly controversial film movement historically known as the New Queer Cinema consisted primarily of independent motion pictures glorifying homosexuality through the art of film based on AIDS activist films with elements of avant-garde cinema. Most of these films were shown on the independent circuit and termed for their display of homosexuality (Griffin and Benshoff 220) . Similar to the past two film movements we covered, the New Queer Cinema Movement is considered to be forgotten by a large number of historians because of the fact that most of the films during this period were independently funded. The driving force behind this movement was related to spreading awareness of the AIDS crisis that had occurred during the late 1980s and early 1990s (Aaron 7). This movement approximately began in the late 1960s when several underground film directors had incorporated homosexuality into their independent films. These included Warhol’s 1968 film Lonesome Cowboys, and Paul Morrissey’s 1968 film Flesh. These films displayed bisexual and homosexual characters that had affection for individuals of the same sex. The 90s is when the New Queer Cinema hit its peek in the film industry, with many movies portraying homosexuals on the big screen. These films usually included characters discovering their sexuality, elements of irony, references to the AIDS crisis, and homosexual romance.

THE ORIGIN

Aspects of queer cinema can be found in films dating all of the way back to the 1930s. Examples of queer related aspects include two men dancing together in scenes of 1930 films and flamboyant characters. Ed Wood’s 1953 film Glen or Glenda is an exploitation film featuring Ed Wood cross-dressing as a woman and displaying the idea transsexuality in a film. It was not until 1992, when B. Ruby Rich first termed this movement the New Queer Cinema when mentioning it in her articles Village Voice and Sight & Sound (Rich). B. Ruby Rich was a film theorist who has studied the NQC in depth since its origins till the present through her essays and books. These films were primarily created by the driving force of the AIDS crisis occurring in the 80s-90s.

THE AIDS CRISIS 1981-1995

In 1981, the first signs of AIDS had surfaced in the United States as Doctors had found unexplained rare forms of pneumonia in gay men living in New York and California (Krim). This later became apparent that there had been some form of immune deficiency. In1982 this strange disease was given the name Acquired Immunodeficiency Syndrome (AIDS). Celebrities like Michael Bennett and Liberace die of AIDS in 1987. By 1990, there were over 160,000 cases of AIDS reported while researchers had been trying very hard to find a potential cure for the illness (Krim). Magic Johnson announces that he has AIDS in 1991 as well as Freddy Mercury’s death at the hands of AIDS. In 1993 it is found that contaminated needles are a main source of AIDS and it wasn’t until 1996 that the AIDS crisis began to die down and victims of AIDS were able to live longer (Krim). During this time there were many independent films created for film festivals that contained vast amounts of homosexuality and elements dealing with the AIDS crisis. Several films that were directly related to the AIDS crisis include the Oscar Winning films Philadelphia (1993) & the more recent film Capote (2005). Other films include And the Band Played On (1993) a film about the discovery of the AIDS epidemic, Go Toward the Light (1988) a story about a couple who has a child that is diagnosed with AIDS, and RENT (2005) a film based on a musical where a main character dies of AIDS.

THEMES TECHNIQUES AND PHILOSOPHY

Common themes that can be seen in the motion pictures made throughout this film movement include discovering one’s true sexuality, homosexual relations, transsexuals, the hard life of a homosexual, romance, and death. All films associated with this movement contain interactions between homosexuals and romance between them. There have been a majority of New Queer Cinema films that feature the death of a beloved character due to the AIDS epidemic. Some of the films incorporate the idea of one growing and discovering their true identity and whether they identify as a woman or a man. These are all common themes seen in the movies associated with this movement and the ones that are currently made today.

The main techniques of the NQC were used to have more than just commentary on who gays were but to have a form of social criticism of gays.  “New Queer Cinema was characterized by a tendency towards ‘talking back’ to American cinema and the ideological foundations that buttressed it” (Sini). This is an example of how the NQC strived to include social criticism of American cinema.

These films use such techniques for their main purpose in identifying with gay and lesbian audiences and helping others to relate to them. Before the New Queer Cinema, there were very few films that gays could identify themselves with. After the introduction to the New Queer Cinema, more and more people began identifying as gay and finding that they were not alone in the world. This overall helped to unite the LGBT counterculture in the long-run.

SIGNIFICANT DIRECTORS

Gus Van Sant (July 24, 1952)

Gus Van Sant is a director, painter, screenwriter, photographer, musician, and author along with being a two-time nominee for Good Will Hunting (1997) and Milk (2008). Van Sant started out as an independent director with a much lower budget. Van Sant played a significant role in the 80s-90s of the New Queer Cinema film movement as he created the majority of the independent films shown at gay and lesbian venues. His first feature independent film was titled Mala Noche (1986) and was shot entirely in black and white as it told the story of two gay lovers. Another film made in 1991 titled My Own Private Idaho starred River Phoenix as a male prostitute and  Keanu Reeves as his companion. He finally made his hollywood debut in 1994 and continues to make great films inspired by the NQC.

Gus Van Sant- A clip from Mala Noche (1986)

 

Jennie Livingston (February 24, 1962)

Regarded as a NQC pioneer because of her famous documentary Paris is Burning (1990) which documents the gay and transgender counterculture as it focuses on a gay black’s and latino’s ball in New York. This film had a major impact on the New Queer Cinema Movement as it shows an inside look at the gay countercultures of America. Livingston, like most other film directors of this movement was an independent film director who showed this film at a Sundance festival and won the Sundance Grand Jury Prize (Benshoff). After this film, Livingston went on to create more films that fit in with the New Queer Cinema that continues on to present day.

Jennie Livingston-Clip from Paris is Burning (1990)

Sadie Benning (April 11, 1973)

Sadie Benning began shooting films at the age of fifteen with a Fisher Price Pixelvision toy camera. She would document her journey of discovering her true sexuality making making films in her bedroom as she included elements inspired by avant-garde style cinema where there are juxtaposed images. This work is considered experimental by most who see it as it contains many elements found in experimental films. Most work of hers focuses on the complexities associated with one discovering their true identity. “Benning’s floating, close-up camera functions as a witness to her intimate revelations, and as an accomplice in defining her evocative experimental form” (Columbia University). This unique style of shooting films was used by Sadie to help portray the out of body experiences one has when discovering their identity. Her work is along the fine line between appealing to adults and innocence. She has moved on from the Pixelvision and currently works with animation.

Sadie Benning-Living Inside (1989)

 

Gregg Araki (December 17, 1959)

Independent director Gregg Araki is an American pioneer in the New Queer Cinema motion picture movement as seen through his films dating all of the back to his first film in 1987, Three Bewildered People in the Night. This film features a girl and her love affair with her gay friend. Inspired by Avant-Garde cinema, Araki filmed his motion picture, The Long Weekend (1989) in black and white with a very low budget. Another underground film of his, The Living End (1992) features two HIV positive homosexual lovers, fitting into the common themes of this movement. Araki continues to direct motion pictures associated with the New Queer Cinema techniques to this day.

AESTHETIC INNOVATIONS

The directors of this movement commonly use avant-garde style techniques as they portray films in black and white with juxtaposed framing. Some films lack a linear storyline and contain many elements similar to experimental films.

HISTORICAL CONTEXT

The New Queer Cinema takes place during the Post-Studio Era of films. This is significant because this was the time when independent films received more recognition as studios began distributing them. This era serves as a turning point for independent films as they have become more mainstream and backed up by studios. However, these studios would only backup films that appealed to a wider audience; excluding the NQC.

The New Queer Cinema film movement shares a lot in common with the Underground film movement that had just happened before the official start to this new movement. Coming off of the Independently funded experimental films of the Underground movement, the NQC contained many of the same influences that the underground filmmakers had along with being independently funded and shown primarily at film festivals and gay/lesbian venues. The NQC, like the Underground cinema went against hollywood and lost the studio backing that most mainstream films had. Examples that both movements share in common include use of pornographic elements and avant-garde techniques. Pioneer Underground director Andy Warhol had his name connected to some of the films associated with this movement.

During this time period, there was the AIDS crisis as discussed before and many critics had claimed there being a direct correlation between the AIDS crisis and the films made during this movement. The AIDS epidemic shared a major impact on the movement as a whole as it influenced many of the films created during the movement.

INFLUENCE ON CONTEMPORARY FILMS

The NQC film movement goes on to present day as independent films are still being made that deal with homosexuality and identify the illness of AIDS. These films can still be seen, along with mainstream films that contain many aspects of the NQC film movement. Homosexuality is more present in mainstream films now and is more easily accepted by studios. This can be seen through the many recent films that incorporate homosexuality such as Brokeback Mountain (2005), Milk (2008), and the most recent Behind the Candelabra (2013). These films contain similar themes to the films made during NQC.

WORKS CITED

Aaron, Michele. New Queer Cinema: An Introduction. N.p.: n.p., n.d. Print.

Benshoff, Harry, and Sean Griffin. Queer Cinema, the Film Reader. New York: Routledge, 2004. Print.

Columbia University. “Foundational Moments of New Queer Cinema with B. Ruby Rich.” Columbia University. Columbia University School of the Arts, 8 Oct. 2013. Web. 14 Nov. 2013. <http://arts.columbia.edu/events/fall-2013/new-queer-cinema>.

Griffin, Sean, and Harry M. Benshoff. Queer Images: A History of Gay and Lesbian Film in America. Lanham: Rowman & Littlefield, 2006. Print.

Hunt, Drew. “Weekly Top Five: The Best of New Queer Cinema.” ChicagoReader. Sun-Times Media, 10 Nov. 2013. Web. 14 Nov. 2013. <http://www.chicagoreader.com/Bleader/archives/2013/11/10/weekly-top-five-the-best-of-new-queer-cinema>.

Kramer, Gary M. Independent Queer Cinema, Reviews & Interviews. Binghamton: Haworth, 2006. Print.

Rich, B. Ruby. “New Queer Cinema: The Director’s Cut.” Newqueercinema.org. B. Ruby Rich, 2013. Web. 13 Nov. 2013. <http://newqueercinema.org/#div-idctitlenew-queer-cinemai-idtitle1-the-directors-cutidiv>.

Sini, Matthew. “Transgeneric Tendencies in New Queer Cinema.” Refractory. Refractory, 6 May 2011. Web. 14 Nov. 2013. <http://refractory.unimelb.edu.au/2011/05/06/transgeneric-tendencies-in-new-queer-cinema-%E2%80%93-matthew-sini/>.