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The article notes a trend towards low-key naturalism in twenty-first-century independent queer cinema. Focusing on work by Andrew Haigh, Travis Mathews and Ira Sachs, it argues that this observational style is welded to a highly meta-cinematic engagement with traditions of representing non-straight people. The article coins the term ‘New Gay Sincerity’ to account for this style, relating it to Jim Collins’s and Warren Buckland’s writing on post-postmodern ‘new sincerity’. At its crux, this new style centres itself in realism to record non-metropolitan, intimate and quotidian gay lives, while acknowledging the high-style postmodernism of oppositional 1990s New Queer Cinema.
-essence: the essence that is one continuous process of becoming-absence in wasteful expenditure. To coin a neologism, war is the excess-essence, or x-essence, of supercapitalism. Gangsta Gangsta rap irrupts in the midst of this war in which deregulated capitalism provides the conditions of survival and combat. As such, its economic success provides an example of the negativity that is both mobilised as a mode of entrepreneurial combat and exploited by supercapitalist corporations. AfricanAmerican creativity and entrepreneurial energy, specifically in the field of hip hop
. This sequence points at one of the most salient strategies in Coixet’s films. Anonymous public spaces like supermarkets, beauty parlours, coffee shops, car parks, train-crossings or coin-laundries become the improvised stage for the drama of inarticulate feelings and the difficulty of personal relations. Rather than referring to specific social realities, these spaces yield an intriguing geography of
, film is now, to a greater extent than before, associated with the body; it engages the viewer at the somatic level, immersing the spectator in experiences and impressions that, like memories, seem to be burned in. I will begin by summarising an important argument that has been made by Alison Landsberg, who has coined the striking term ‘prosthetic memory’ to describe the way mass cultural
– variously described as indigenous, First Nations or Aboriginal – who had previously featured strongly in the canon of ethnographic film as subjects. In the 1980s, Faye Ginsburg coined the term ‘indigenous media’ to refer very specifically to these self-representational film-making projects among culturally distinctive minorities living within the ‘settler states’ that arose as result of European colonial expansion. In her original usage, the ‘media’ part of the term referred not merely to the films themselves as physical artefacts but also to the fact
construction of a film is in some ways literary. She constructs a film, she says, as a writer constructs a text, and she has coined the term ‘cinécriture’ (ciné-writing) to describe her work. What she means by this is best described in her own words: J’ai lancé ce mot et maintenant je m’en sers pour indiquer le travail d’un cinéaste. Il renvoie à leurs cases le
longer a sign of critical approbation. The term série-Z had been coined by Nouvelle critique (no. 49) to describe the New Thriller, and adopted by Guy Hennebelle in Ecran 72 (Hennebelle 1972 : 3). 19 Its connotations were hardly flattering and the articles which accompanied its introduction highly critical although the majority of the films surveyed have little in common – certainly with regard to political ambition – with Costa-Gavras’ work: both Boisset and Cayatte had yet to venture fully into the territory of political fiction
the classy, glamorous Champs-Elysées more often than not conjoined as two sides of the same coin;4 or with centrally located, fashionable and opulent neighbourhoods like Place Vendôme as choice targets for the ultimate heist, hyperbolically ‘the biggest take since the rape of the Sabines’, to borrow from the sensationalist newspaper headlines of Du Rififi chez les hommes (Jules Dassin, 1955). The Montmartre area, above all, was to acquire the status of a quasi-obligatory structural unit, in not only topographical but also narrative and stylistic terms. This was in
Before goth, there was positive punk, a term coined by Richard Cabut. Writing as Richard North for NME, he outlined the foundations of what later soon became known as goth. However, the influences, ideas and aesthetics of this were first developed in fanzines such as Cabut’s Kick. Here he recalls what informed his notion of a ‘positive punk’
This book reveals the ideas behind the Beat vision that influenced the Beat sound of the songwriters who followed on from them. Having explored the thinking of Alan Watts, who coined the term ‘Beat Zen’, and who influenced the counterculture that emerged out of the Beat movement, it celebrates Jack Kerouac as a writer in pursuit of a ‘beatific’ vision. On this basis, the book goes on to explain the relevance of Kerouac and his friends Allen Ginsberg and Gary Snyder to songwriters who emerged in the 1960s. Not only are detailed readings of the lyrics of the Beatles and of Dylan given, but the range and depth of the Beat legacy within popular song is indicated by way of an overview of some important innovators: Jim Morrison, Joni Mitchell, Leonard Cohen, Donovan, the Incredible String Band, Van Morrison and Nick Drake.