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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.
This article concerns itself with feminist comedy that is deemed angry and difficult in an era of postfeminism. Hannah Gadsby’s live show Nanette, released as a Netflix film, can be described as difficult because it is politically challenging, emotionally demanding and disrupts the established format of stand-up comedy. Yet it has had critical and commercial success. Nanette challenges the underpinning assumption of postfeminism: that feminism is no longer needed. It is feminist and angry. To explore the phenomenon of angry feminist comedy in the postfeminist era, the article considers the comedy of Gadsby through the figure of the feminist killjoy, coined by Sara Ahmed, to reflect how the killjoy and the queer art of failing offer forms of political ‘sabotage’ that subvert comedy as masculinist popular culture.
, 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
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 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
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
exclusively to the allegedly decadent Ottoman period, however, and it certainly did not involve only platonic relationships. Nonetheless, the terms homosexuality and homosexual do not automatically equate with what takes place in Muslim-majority countries. As El-Rouayheb also reminds us, the terms homosexualität was coined in the late 1860s by Austro-Hungarian writer Karl Maria Kertbeny, but it is not necessarily synonymous with the much older concept of sodomy . He cites Michel Foucault’s idea that the term sodomite could only apply ‘to the perpetrator of an act
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
Screening the Hollywood Rebels in 1950s Britain explores the relationship between classic American films about juvenile delinquency and British popular youth culture in the mid-twentieth century. The book examines the censorship, publicity and fandom surrounding such Hollywood films as The Wild One, Blackboard Jungle, Rebel Without a Cause, Rock Around the Clock and Jailhouse Rock alongside such British films as The Blue Lamp, Spare the Rod and Serious Charge. Intersecting with star studies and social and cultural history, this is the first book to re-vision the stardom surrounding three extraordinarily influential Hollywood stars: Marlon Brando, James Dean and Elvis Presley. By looking specifically at the meanings of these American stars to British fans, this analysis provides a logical and sustained narrative that explains how and why these Hollywood images fed into, and disrupted, British cultural life. Screening the Hollywood Rebels in 1950s Britain is based upon a wide range of sources including censorship records, both mainstream and trade newspapers and periodicals, archival accounts and memoirs, as well as the films themselves. The book is a timely intervention of film culture and focuses on key questions about screen violence and censorship, masculinity and transnational stardom, method acting and performance, Americanisation and popular post-war British culture. The book is essential reading for researchers, academics and students of film and social and cultural history, alongside general readers interested in the links between the media and popular youth culture in the 1950s.