Description
Often described as an art of abstraction and subjective introspection, experimental film is also invested in exploring daily objects and materials and in channeling, in the process, a peculiar perception of the modern everyday that this book calls queer materiality. Queer materiality designates the queer latency of modern material culture, which often inspired queer artists and filmmakers to envision wayward bodies and behaviors, and refers to the way in which sexual and social dissidence was embedded in the objects, technologies, substances, and spaces that make up the hardware of experience. This book studies a rich archive of queer material engagements in work by well-known filmmakers such as Andy Warhol, Barbara Hammer, Carolee Schneemann, and Jack Smith as well as under-recognized figures such as Tom Chomont, Jim Hubbard, Ashley Hans Scheirl, and Teo Hern?ndez. Combining history, formal analysis, and theoretical reflection, author Juan A. Su?rez shows how plastics, glitter, mechanical ensembles, urban ruins, garbage, amphetamine, film grain, and noise have been mobilized in the articulation of queerness for the screen. Experimental Film and Queer Materiality is an inquiry into the liveliness of matter and into the interface between sexuality and the material world.
Table of Contents
1. Introduction. Sexuality on the Outside: Experimental Cinema and Queer Materiality2. Ruins, Magical Objects, Litter, and Synthetics: The Queer Materials of Postwar Avant-Garde Film 3. Amphetamine and Queer Materiality in Andy Warhol's Factory Films4. Crashing Bodies, Excrement, and Plastics: The Kuchar Brothers in the Sixties5. Glitter and Queer Embodiment in Seventies Film and Performance6. Film Grain, Discontinuous Representation, and the Queer Corporealities of Underground Cinema7. The Afterlives of Film Grain: Precarious Bodies, Poor Images 8. Synthetic, Exotic, Magnetic: The Noise of Queer Experimental Film
