Cet article retrace la distribution en 16mm du film Word is Out: Stories of Some of Our Lives (Mariposa Film Group, 1977, États-Unis) à travers le Canada entre 1977 et 1985. Il contribue au corpus croissant de travaux sur la distribution de films en se penchant sur celle des films gais et lesbiens durant cette période. En s’appuyant sur des journaux numérisés ainsi que sur la correspondance et la documentation en archives, l’auteur démontre que la distribution en 16mm de Word is Out dépendait de son intermédialité avec d’autres médias et technologies de communication, notamment le film en 35mm, la télévision, les grands journaux et les revues gaies, qui étaient tous cruciaux pour former un contre-public discursif. L’analyse de ces connexions intermédiales élargit notre compréhension des façons complexes par lesquelles les militants gais et militantes lesbiennes ont utilisé le film pour créer des communautés et élargir leur mouvement.
This chapter documents and theorizes community-based film festival programming and organizing tactics during the first wave of the Covid-19 pandemic between March and September 2020. Drawing from autoethnographic experience and personal conversations with organizers of the Toronto Queer Film Festival (TQFF) and Toronto Outdoor Picture Show (TOPS), I offer the neologism “cinegoraphilia”—a portmanteau of cinephilia and the Ancient Greek agora—to theorize both festival’s strategies to capture the love of watching cinema in public together. As a theory that centers the communal, public features of cinemagoing, cinegoraphilia orients us toward the ways community-based film festivals creatively tried to retain and engage their audiences. I situate TOPS’s and TQFF’s efforts to capture cinegoraphilia within the broader context of public health restrictions in the Canadian province of Ontario, as well as changes to the arts funding ecosystem and funding policy locally in Toronto, provincially in Ontario, and nationally across Canada.
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