Experimental Film and Queer Materiality studies a rich archive of queer material engagements in work by well-known filmmakers such as Andy Warhol, Barbara Hammer, Carolee Schneemann, and Jack Smith as well as under-recognized figures such as Tom Chomont, Jim Hubbard, Ashley Hans Scheirl, and Teo Hernández.
Experimental Film and Queer Materiality studies a rich archive of queer material engagements in work by well-known filmmakers such as Andy Warhol, Barbara Hammer, Carolee Schneemann, and Jack Smith as well as under-recognized figures such as Tom Chomont, Jim Hubbard, Ashley Hans Scheirl, and Teo Hernández.
Juan A. Suárez is Professor at the University of Murcia in Spain. He is the author of Bike Boys, Drag Queens, and Superstars; Jim Jarmusch; and Pop Modernism: Noise and the Reinvention of the Everyday. His essays have appeared in Screen, Journal of Film and Media Studies, Grey Room, and New Literary History, among others, and in numerous edited volumes, most recently in The Music and Sound of Experimental Film, The Oxford Handbook of Queer Cinema, and A Companion to Experimental Film.
Inhaltsangabe
* 1. Introduction. Sexuality on the Outside: Experimental Cinema and Queer Materiality * 2. Ruins, Magical Objects, Litter, and Synthetics: The Queer Materials of Postwar Avant-Garde Film * 3. Amphetamine and Queer Materiality in Andy Warhol's Factory Films * 4. Crashing Bodies, Excrement, and Plastics: The Kuchar Brothers in the Sixties * 5. Glitter and Queer Embodiment in Seventies Film and Performance * 6. Film Grain, Discontinuous Representation, and the Queer Corporealities of Underground Cinema * 7. The Afterlives of Film Grain: Precarious Bodies, Poor Images * 8. Synthetic, Exotic, Magnetic: The Noise of Queer Experimental Film
* 1. Introduction. Sexuality on the Outside: Experimental Cinema and Queer Materiality * 2. Ruins, Magical Objects, Litter, and Synthetics: The Queer Materials of Postwar Avant-Garde Film * 3. Amphetamine and Queer Materiality in Andy Warhol's Factory Films * 4. Crashing Bodies, Excrement, and Plastics: The Kuchar Brothers in the Sixties * 5. Glitter and Queer Embodiment in Seventies Film and Performance * 6. Film Grain, Discontinuous Representation, and the Queer Corporealities of Underground Cinema * 7. The Afterlives of Film Grain: Precarious Bodies, Poor Images * 8. Synthetic, Exotic, Magnetic: The Noise of Queer Experimental Film
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