Os mundos do cinema queer : da estética ao ativismo

Por que pensar sobre cinema queer e política mundial juntos? O cenário é familiar para aqueles que seguem a política LG BT: as culturas queer globais colidem com as políticas locais ou regionais. Violência em Paradas do Orgulho Gay da Índia, Sérvia e África do Sul suscita questões sobre a compatibilidade do liberalismo e do relativismo cultural, cidadania global e direitos humanos, identidade sexual e soberania nacional. Ao mesmo tempo, tem havido um crescimento do cinema queer ao redor do mundo, com expressiva produção e consumo de filmes, de modo que as dissidências sexuais e de gênero tornam-se visíveis em várias culturas. Neste artigo, não vemos os novos cinemas queer meramente como parte da cultura globalizada LG BT, mas consideramos como o cinema queer constrói novos mundos. Cinema queer cria diferentes narrativas do mundo, oferecendo alternativas à estética capitalista e à vida social. Aqui usamos exemplos de filme queer como estilo e ativismo para propor novas teorias do que significa ser queer no mundo

Lindo: teoria do cinema, estética e a história da imagem incômoda

Ao condenar a exclusão do “lindo” na teoria do cinema e na história da arte, Rosalind Galt revalora ideias concebidas sobre o impulso decorativo e procura investigar como tal oposição representa um preconceito estético ocidental duradouro contra a cosmética feminina e o ornamento primitivo. O lindo incorpora a visualidade exuberante e a mise-en-scène colorida cada vez mais centrais ao cinema mundial

Untimely desires, historical efflorescence, and Italy in call me by your name

Critics of Call Me by Your Name/Chiamami col tuo nome (Luca Guadagnino, 2017) have accused the film of being inauthentic. In venues in Italy and internationally, we find the complaint that the film is not really Italian, does not include authentic gay sex, or that it is not authentically gay at all. For some, its bourgeois class fantasy renders it inauthentic in the sense of not being gritty enough, not a true representation of Italy’s class and ethnic diversity. For others, the way Elio’s family are open to his sexuality is implausibly liberal. Regardless of what aspect of the film is being attacked, this problem of authenticity seems to center the negative press. This essay uses these questions as a way to interrogate the film’s relationship to Italian-ness and its representation of homosexuality. Although cries of inauthenticity often serve simply to bolster a conservative approach to cinematic value, setting up a “real” and “true” identity against which a film might fail to measure up, we think this debate over Chiamami exposes a fraught intersection of Italian cinema and gay histories

'It's a film' : medium specificity as textual gesture in Red road and The unloved

British cinema has long been intertwined with television. The buzzwords of the transition to digital media, 'convergence' and 'multi-platform delivery', have particular histories in the British context which can be grasped only through an understanding of the cultural, historical and institutional peculiarities of the British film and television industries. Central to this understanding must be two comparisons: first, the relative stability of television in the duopoly period (at its core, the licence-funded BBC) in contrast to the repeated boom and bust of the many different financial/industrial combinations which have comprised the film industry; and second, the cultural and historical connotations of 'film' and 'television'. All readers of this journal will be familiar – possibly over-familiar – with the notion that 'British cinema is alive and well and living on television'. At the end of the first decade of the twenty-first century, when 'the end of medium specificity' is much trumpeted, it might be useful to return to the historical imbrication of British film and television, to explore both the possibility that medium specificity may be more nationally specific than much contemporary theorisation suggests, and to consider some of the relationships between film and television manifest at a textual level in two recent films, Red Road (2006) and The Unloved (2009)

Constraints and possibilities: Lima Film Festival, politics and cultural formation in Peru

The Festival de Cine de Lima (Lima Film Festival) launched in 1997 and, from humble beginnings, each year now introduces around 300 films to diverse audiences across the Peruvian capital and beyond. In 2014, for the first time in its history, four of the nineteen films selected for the feature competition were made by Peruvian directors, signalling a growing recognition of national talent by programming panels and critics that had tended to look beyond national borders for inspiration and challenge. Despite the relative paucity of co-ordinated film production activity in Peru, it is argued here that the flourishing of Lima Film Festival provides evidence of a deep sense of film appreciation that conveys a commitment to all forms of cinema. This essay reflects critically on the local, national and international impact of this Festival, its influence on the development of film policy in Peru, and explores its role as a ‘key building block of film culture’ (Iordanova, 2013) across a complex national framework