The new queer cinema for queer movies.

The new queer movie is the name of a queer movie wave, which was praised by critics during the film festival tour in1early 1990s. The new queer movie, or NQC I want to mention, was created and widely recorded by film theorist B.Ruby Rich. It shows exciting prospects, and the images of gays, lesbians and filmmakers have changed. Movies can be radical or popular, popular and economically feasible, instead of carrying a sack with a positive image for approval or making the edges relatively blurred.

This wave, or movement, is composed of Sundance)-199 1 and 1992-Jenny Livingston's Paris is burning, 1990) and Todd Haynes's Posion. The bigger gains usually include Marlon Riggs's Untied Tongue (1990) and gus van sant's My Own Private Idaho. 199 1 year), young soul rebels in Isaac Julien (199 1 year) and Laurie Linde are waiting for your reply (R.S.V.P 199 1 year). Blissfulness by Pratibha Palma (Khush, 19965438) and the works of filmmakers such as Cecilia Dougherty, Sue Friedrich and John Gray Songhe. As Richie pointed out, these films have almost no common aesthetic or narrative strategies, but they seem to share an attitude. She found them "disrespectful" and "powerful", and according to J. Hoberman, their protagonists were "conceited and overconfident". 1 actually, I feel that combining this type of things is best described as resistance. This boycott can be considered from several levels, all of which are used to clarify the characteristics of new queer movies.

First, although western pop culture has eternal rules for the audience, these films express marginal voices, not only in gay and lesbian groups, but also in the sub-groups contained in them. For example, Rap and Rebellion of Young Soul both discuss the male experience of black gay men (the latter also has a rare cross-racial combination). The protagonist of My Private Idaho is a male prostitute. The documentary "Paris is Burning" focuses on gay men in new york at costume parties, as well as transgender young people in Spain and Latin America.

Secondly, these films do not defend the shortcomings or even sins of their characters: they avoid positive visual descriptions. Seize the soul, poison and despair to beautify crime and (same-sex) pornographic violence. These gay men who are in the center of "despair" and "despair" are displayed in their murderous relationship. Karin's highly stylized photography and the use of black and white in Soul have turned the film's disgraceful events into exquisite works with the characteristics of a certain era. In an important scene, the dramatic scene of the high-angle court intersects with the footage of the original trial on which the film is based. When a "psychiatrist" described the symptoms of the two men from the court witness stand, the bed with loose hair and hugging each other filled the space in front. On the other hand, Araki made his main characters dress up in the West Coast Cool Shop, but while on the road, they were "enthusiastic" and focused. At the same time, Haines used Jean Genet's Unchant d 'amour (1950) for reference, especially its art and sexual control, which conveyed a prisoner's sexual infatuation with another prisoner in the dark basement and untouchable rocks of the men's prison.

Third, these films challenge the sanctity of the past, especially the past of hatred and fear of homosexuality. Edward II, The Hours and The Soul Seize all relive the marriage relationship in history, and firmly set up the neglected gay content. Edward II tells about the homosexual relationship between King Edward and Garvice. The Hours describes in detail the sexual vitality between John Lennon and Brian Epstein. The Soul Capture narrates the murders of Leopold and Loeb, and the most important thing is the reappearance of Hitchcock's seizure (1948), but it completely presents the homosexual tendencies of the murderer.

Fourthly, these films often challenge film conventions in form, content and type. Said Benning's short film was shot with Fisher Pixel vision, using various text innovations to provide rough, experimental but still confident works. John Gleason's Zero Patience (1993) provides an unlikely combination of AIDS and musicals. This combination will be an extraordinary international success in Broadway hit [Renee]. In fact, Gleason is unique because he is divorced from the traditional film practice. Julianne Pidduck regards it as "re-occupying the mainstream media" in the way of "illustration and illustration". Like other neo-queer artists, he also re-occupied the mainstream genre and form (the film winning by length is better than the short film), and finally the distribution/screening channel. Neo-queer films also challenge the sanctity of mainstream film history. In case people miss Karin stealing from Hitchcock, "The Soul" re-staged a scene only from "Rear Window". The romantic conversation between Jeff and Lisa takes place between two modern male lovers. Haines agrees with Jean-Jenny's illegal filmmaking. When expressing gay men, he regards the old queer movies-the uncompromising works of Jean-Jenny, fassbinder, Warhol and sayles-as the foundation of the new queer movies, rather than the mainstream gains. In fact, due to the lack of attention to form or content, linear or coherent control coding, Hollywood itself has something in common with postmodernism. In fact, it was in postmodernism, just like "Homo Pomo", that Matteo Ricci first described the new queer movies. Although postmodernism still has many connections with the emergence and development of queer theory and its practice, as well as the aesthetic strategies used in new queer movies, postmodernism, based on its indifference to politics, provides a corresponding but usually scattered context for the discussion of new queer movies.

Finally, these films challenge death in many ways. The happy murderers in Despair and Despair resist their serious results. But the key way to challenge death is AIDS. Death is challenged as a life sentence declared by the disease: HIV+ leads to "despair" instead of finding a "time bomb" to be "completely" released. You can even challenge to the end: in the storm of love, the first AIDS patient came back to life.

It can't be simply said that resistance is the characteristic of these films, but this resistance marks the queer characteristics of these films. In fact, "queer" and its criticism and cultural advantages are important contexts for understanding the emergence and development of these new queer films.