Queer relay

GLQ

Volumn 14, Issue 4, 2008, Pages 569-597

  Henderson, Lisa ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 54049096013     PISSN: 10642684     EISSN: None     Source Type: Journal    
DOI: 10.1215/10642684-2008-005     Document Type: Article

References (23)

1. See, e.g., Jesse Green, "Who's Afraid of Sarah Schulman?" New York Times, October 23, 2005, http://www.nytimes.com/2005/10/23/ theater/newsandfeatures/23gree .html?pagewanted=1&_r=1.
2. On Waters, see Matthew Tinkcom, Working Like a Homosexual: Camp, Capital, Cinema (Durham, NC: Duke University Press, 2002), 155-88;
3. on Zamora and Basquiat, see José Esteban Muñoz, Disidentifications: Queers of Color and the Performance of Politics (Minneapolis: University of Minnesota Press, 1999), 37-56, 143-60;
4. on drag kinging and Austin Powers, see Judith Halberstam, In a Queer Time and Place: Transgender Bodies, Subcultural Lives (New York: New York University Press, 2005), 125-51.
5. Halberstam, In a Queer Time and Place, 110.
6. Matthew Soar, pers. comm., August 2005.
7. On the "speaker's benefit," see Michel Foucault, An Introduction, vol. 1 of The History of Sexuality, trans. Robert Hurley (New York: Vintage, 1980), 6.
8. On affect and libidinal investment in theorizing, see J. K. Gibson-Graham, "Affects and Emotions for a Postcapitalist Politics," in A Postcapitalist Politics (Minneapolis: University of Minnesota Press, 2006), 1-21.
9. For an especially rich example of cultural analysis that follows a formal fragment through multiple articulations over historical time and geographic space, see Steven Feld's essay on the movement of a traditional Cameroonian flute sound from ethnomusicological field recording to U.S. jazz improvisation to Madonna hit to Neutrogena advertising soundtrack, "Pygmy POP: A Genealogy of Schizophonic Mimesis," Yearbook for Traditional Music 28 (1996): 1-35.
10. When a casting director is herself cast in a film, she runs the risk of alienating actors and their representatives, especially those actors who had auditioned for the part. Mandy.com posts announcements for freelance employment in the film industry.
11. I spoke with Codikow about this outcome, but she had not corresponded directly with Johnson and could not comment. At the filmmakers' request, I did not contact Panavision.
12. Jennie Rose, '"The Last Refuge of Democracy': A Talk with B. Ruby Rich," Green Cine, May 2004, www.greencine.com/article?action= view&articleID=119&page ID=227.
13. Synchronous-sound filmmaking, with open microphones on the set, microphone booms close to frame's edge, and tape recorders whose motors are calibrated to the camera's, introduces multiple technical variables in production, from performance, dialogue, continuity, and blocking camera (and mic) movement in relation to actors, to focus, exposure, tape and camera speed, artificial and natural light, extraneous exterior sound, slating (coordinated picture and sound identification on image and sound tracks), and the consistency of electrical supply, among many others. Sync crews are bigger, and sync setups (where each element of a take is planned, blocked, lit, mic'ed, and rehearsed) are much more time-consuming than scenes without sound. The room for error and uncertainty increases, and usually more takes per scene are required over scenes without sound. The "ratio" (of footage shot to footage used in the final film) typically goes up with sync, likewise with narrative continuity, where contiguous shots in the film must match, even though they may have been shot days apart. Ambitious small films like Desert Motel, with high production values; interiors and exteriors; day, night, and underwater shooting; tight schedules; and modest budgets (for location time, personnel, film stock, and processing) are thus among the most demanding projects to pull off.
14. Liz Penn (Dana Stevens), "Look at Me: Vive Ie Juicebomb!" High Sign, April 21, 2005, www.thehighsign.net/archives/review/ look_at_me.html.
15. Audre Lorde, "Poetry Is Not a Luxury," in Sister Outsider: Essays and Speeches (Freedom, CA: Crossing, 1984), 36-39.
16. The Director's Guild of America is one of Outfest's venues.
17. Patricia White, B. Ruby Rich, Eric Clarke, and Richard Fung, "Queer Publicity: A Dossier on Lesbian and Gay Film Festivals," GLQ 5 (1993): 73-93.
18. Liza Johnson, unpublished self-evaluation given to the author, August 2005.
19. Although I do not quote them here, additional interviews with Stacy Codikow and Shari Frilot, a filmmaker and Sundance Film Festival programmer, contributed to this discussion and its tabular reworking in figure 2.
20. Michael Warner, The Trouble with Normal: Sex, Politics, and the Ethics of Queer Life (New York: Free Press, 1999), 27-33.
21. Gibson-Graham, Postcapitalist Politics, xxvii-xxxiii.
22. B. Ruby Rich, keynote address (Persistent Vision, San Francisco, June 19, 2006).
23. Errors and omissions is an insurance policy to cover potential lawsuits for copyright infringement. As it turns out, Johnson mounted Desert Motel-for free -on John Cameron Mitchell's Shortbus Web site (www.shortbusthemovie.com/fvideo.html), a project she describes as "on the side of stigmaphilia and community" but which remains an expensive commercial enterprise by Desert Motel standards. Still, she said, it made more sense to be on Shortbus for free, with less risk of errors and omissions lawsuits, than underpaid at LOGO, as layered (and, I would add, as expressive of her relay position) as that preference might seem. After Desert Motel, Johnson went on to make the short (and not queer) film South of Ten, a poetic hybrid of fiction and documentary form about a group of citizens making do on the Mississippi Gulf Coast after Hurricane Katrina. South of Ten was selected to open the New York Film Festival at Lincoln Center in September 2006, preceding Stephen Frears's Queen (Liza Johnson, pers. comm., July 2006 and December 2007).