Film
Filmmakers such as Kenneth Anger, Jack Smith, early Andy Warhol and early John Waters, Vivienne Dick and the aforementioned Derek Jarman were influential in their depictions of queer subcultures. In 1990 the editors of J.D.s began presenting J.D.s movie nights in various cities showing films such as Bruce LaBruce's Boy, Girl and Bruce and Pepper Wayne Gacy's Home Movies, and G.B. Jones' The Troublemakers; after the demise of J.D.s, each made films exploring the queercore milieu; LaBruce released the feature length No Skin Off My Ass in 1991; G.B. Jones' The Troublemakers was released in 1990, followed by The Yo-Yo Gang in 1992. In 1996, J.D.s contributor Anonymous Boy completed the first animated queercore film, Green Pubes.
Documentary films about queercore include the 1996 releases She's Real, Worse Than Queer by Lucy Thane and Queercore: A Punk-u-mentary by Scott Treleaven. Gay Shame '98 by Scott Berry documents the first Gay shame event. Tracy Flannigan's Rise Above: A Tribe 8 Documentary was released in 2003, and Pansy Division: Life In A Gay Rock Band by Michael Carmona debuted in 2008, both films playing regularly at film festivals around the world.
2003 saw the premiere of the no budget comedy Malaqueerche: Queer Punk Rock Show by Sarah Adorable (of Scream Club) and Devon Devine, which brought the third wave of queercore to the screen. In 2008, G.B. Jones released the feature film The Lollipop Generation, featuring many of the participants in the queercore scene, including Jena von Brücker, Mark Ewert, Vaginal Davis, Jane Danger of Three Dollar Bill, Jen Smith, Joel Gibb, Anonymous Boy, Scott Treleaven and Gary Fembot of Sta-Prest, with music by The Hidden Cameras, Anonymous Boy and the Abominations, Bunny and the Lakers, Jane Danger, Swishin' Duds and Mariae Nascenti. All these films impacted the scene and broadened the scope of queercore to include film as another of its mediums of expression.
Read more about this topic: Queercore
Famous quotes containing the word film:
“The woman’s world ... is shown as a series of limited spaces, with the woman struggling to get free of them. The struggle is what the film is about; what is struggled against is the limited space itself. Consequently, to make its point, the film has to deny itself and suggest it was the struggle that was wrong, not the space.”
—Jeanine Basinger (b. 1936)
“Film music should have the same relationship to the film drama that somebody’s piano playing in my living room has to the book I am reading.”
—Igor Stravinsky (1882–1971)
“To read a newspaper for the first time is like coming into a film that has been on for an hour. Newspapers are like serials. To understand them you have to take knowledge to them; the knowledge that serves best is the knowledge provided by the newspaper itself.”
—V.S. (Vidiadhar Surajprasad)