Callista N

what this atomization would do to notions of community and to any surviving sense of solidarity across lines of race or class, not to mention the threat to queer lmmaker livelihoods long facilitated by screening rentals and festival sale 

 What was unique about that early moment was the singularity of attention, intensity of creativity, and scarcity of “product 

THE “New Queer Cinema” is a term I coined back in 1992 for a set of films and videos that constituted a major shift in how to make and think about fillm, life, sexuality, aesthetics, and politics at a time of repression, danger, and death brought on by the AIDS epidemic and repressive political regimes in the United States and the United Kingdom. 

unproductive binaries – for example, the ‘Western capitalist institution’ versus the ‘slum’, ‘high culture’ versus ‘low culture’ – and these categories ‘preserve the hierarchical relations between the fashion industry and the cultures being appropriated’ (2014, par. 18). 

Throughout history, trans identity has been stigmatized even within queer subcultures 

‘perennial tension between market demand and commercial success, versus the integrity of art and original design’ 

historical context of new queer cinema:

• The democratisation of film and cinema through video and video stores  

• Context: 90s aids crisis and Reagan in USA 

• Queer temporality  

• Short period of time of 'new queer cinema'  

• B ruby rich – questioning if new queer cinema had run its course  

• Cinema could be radical and popular, stylish and economically

how stars literally and figuratively embody cultural contestation over identity, or even reveal the similarities between stardom and the construction or performance of the body 

Zero patience as a queer political critique  

• Direct rebuttal to randy shilts book about early years of aids  

•  Trope that individuals with disease would try to spread it