* New Queer Cinema –

Although it had been funding British experimental films as early as 1952, the British Film Institute's foundation of a production board in 1964 — and a substantial increase in public funding from 1971 onwards — enabled it to become a dominant force in developing British art cinema in the 1970s and 80s: from the first of Bill Douglas's Trilogy My Childhood ( 1972 ), and of Terence Davies ' Trilogy Childhood ( 1978 ), via Peter Greenaway's earliest films ( including the surprising commercial success of The Draughtsman's Contract ( 1982 )) and Derek Jarman's championing of the New Queer Cinema.

* Raberger, Ursula: New Queer Oz: Feministische Filmtheorie und weibliche Homosexualiät in zwei Filmen von Samantha Lang.

One of the most famous attempts by the LGBT community to re-claim the term " queer " was through an organisation called Queer Nation, which was formed in March 1990 ; a few months later, an influential though anonymous flier was distributed at the New York Gay Pride Parade in June 1990 entitled " Queers Read This ".

" Eichelberger, Ethyl ( 1945-1990 )" ( biography ), glbtq ( An Encyclopedia of Gay, Lesbian, Bisexual, Transgender, and Queer Culture ), www. glbtq. com, last-updated July 17, 2002 — ( Which includes the observation " Eichelberger's plays were performed in almost any space that might pass as a stage in New York City during the height of the East Village performance bar scene of the 1980s.

He is involved in New Queer Cinema.

Special episodes of Queer Eye that deviated from this formula included episodes in which the Fab Five journeyed outside the greater New York area, including shows filmed in England, Texas, and Las Vegas.

The film has been the subject of critical attention in the context of both film theory and queer theory and is considered part of the informal New Queer Cinema movement.

In examining the film from a queer theory perspective, author Michele Aaron cites Zero Patience as definitional of one of the New Queer Cinema's central attitudes, the " def of cinematic convention in terms of form, content and genre.

Although he doesn't characterize himself as a gay filmmaker who makes gay films … Haynes ' name has become synonymous with the New Queer Cinema movement and its work to both explore and redefine the contours of queer culture in America and beyond.

The film writer B. Ruby Rich cited Poison as one of the defining films of the emerging New Queer Cinema movement, with its focus on maverick sexuality as an anti-establishment social force.

Films of the New Queer Cinema movement typically share certain themes, such as the rejection of heteronormativity and the lives of LGBT protagonists living on the fringe of society.

In her 1992 article, Rich commented on the strong gay and lesbian presence on the previous year's film festival circuit, and coined the phrase " New Queer Cinema " to describe a growing movement of similarly themed films being made by gay and lesbian independent filmmakers, chiefly in North America and England.

In the films of New Queer Cinema, the protagonists and narratives were predominantly LGBT, but were presented invariably as outsiders and renegades from the rules of conventional society, and embraced radical and unconventional gender roles and ways of life, frequently casting themselves as outlaws or fugitives.

Drawing on postmodernist and poststructuralist academic theories of the 1980s, the New Queer Cinema presented human identity and sexuality as socially constructed, and therefore fluid and changeable, rather than fixed.

In the world of New Queer Cinema, sexuality is often a chaotic and subversive force, which is alienating to and often brutally repressed by dominant heterosexual power structures.

Films in the New Queer Cinema movement frequently featured explicit and unapologetic depictions of same-sex sexual activity, and presented same-sex relationships that reconfigured traditional heterosexual notions of family and marriage.

While not all identifying with a specific political movement, New Queer Cinema films were invariably radical, as they sought to challenge and subvert assumptions about identity, gender, class, family and society.

New Queer Cinema figures like Livingston encouraged viewers to suspend their ignorance, and enjoy the diversity of humanity.

Given the relative invisibility of references to AIDS in mainstream Hollywood filmmaking, the work of New Queer Cinema was hailed by the gay community as a welcome correction to a history of under-representation and stereotyping of gay and lesbian people.

Rich noted that many films were beginning to represent sexualities which were unashamedly neither fixed nor conventional, and coined the phrase " New Queer Cinema ".

* B. Ruby Rich “ New Queer Cinema ”: Sight & Sound, Volume 2, Issue 5 ( September 1992 )

New Queer Cinema: A Critical Reader.

* GLBTQ article on New Queer Cinema

For example, Frenchmen Philippe Noiret and Jacques Perrin were dubbed into Italian for Cinema Paradiso and Austrian bodybuilder Arnold Schwarzenegger was dubbed for Hercules in New York.

Category: New Line Cinema films

New Line Cinema ( one-time video distributor of the original ) acquired the rights to the film from co-rights holder StudioCanal, who will control the European rights, and Carpenter, who will serve as an executive producer and said, " Snake is one of my fondest creations.

Allan Loeb wrote currently the script for the New Line Cinema project.

Despite the foundation of the Kuratorium Junger Deutscher Film ( Young German Film Committee ) in 1965, set up under the auspices of the Federal Ministry of the Interior to support new German films financially, the directors of this New German Cinema, who rejected co-operation with the existing film industry, were consequently often dependent on money from television.

As a result of the funds provided by the Film-Fernseh-Abkommen, German films, particularly those of the New German Cinema, gained a much greater opportunity to enjoy box-office success before they played on television ( Blaney 1992: 204 ).

The artistically ambitious and socially critical films of the New German Cinema strove to delineate themselves from what had gone before and the works of auteur film-makers such as Kluge and Fassbinder are examples of this, although Fassbinder in his use of stars from German cinema history also sought a reconciliation between the new cinema and the old.

In addition, a distinction is sometimes drawn between the avantgarde " Young German Cinema " of the 1960s and the more accessible " New German Cinema " of the 1970s.

The New German Cinema also allowed for female directors to come to the fore and for the development of a feminist cinema which encompassed the works of directors such as Margarethe von Trotta, Helma Sanders-Brahms, Helke Sander and Cristina Perincioli.

Having achieved some of its goals, among them the establishment of state funding for the film industry and renewed international recognition for German films, the New German Cinema had begun to show signs of fatigue by the 1980s, even though many of its proponents continued to enjoy individual success.

In addition, the " aesthetic left " nature of New German Cinema ( in the words of the critic Enno Patalas ) no longer coincided with the spirit of the times.

" A New Guide to Italian Cinema ".

British Cinema in the Fifties: Gender Genre and the New Look.

Lindsay Gordon Anderson ( 17 April 1923 – 30 August 1994 ) was an Indian-born, British feature film, theatre and documentary director, film critic, and leading light of the Free Cinema movement and the British New Wave.

Examples: The New School in New York City ( the first Media Studies Program in the country, created in 1975 ), The Paley Center for Media in New York City, Comparative Media Studies at MIT, Cinema and Media Studies at the University of Chicago, Media and Cultural Studies at the University of California, Riverside, Rhetoric and Media Studies at Willamette University, Media Studies in Communication at Kennesaw State University, the Instructional Technology and Media Program at Columbia University, and The Department of Modern Culture and Media at Brown University.

" On February 18, 2010, it was announced that Tarantino had bought the New Beverly Cinema.

In 1983 New Line Cinema acquired the distribution rights from Bryanston and gave the producers a larger share of the profits.

A straight remake, The Texas Chainsaw Massacre, was released by Platinum Dunes and New Line Cinema in 2003.

Category: New Line Cinema films

He first realized that the film had a cult following when he attended a midnight screening in 2000 at the New Beverly Cinema in Los Angeles and witnessed people quoting dialogue from the film to each other.