Default cinema: queering economic crisis in Argentina and beyond

Galt, Rosalind

doi:10.1093/screen/hjs068

Cited by 18 publications

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“…Using the German lesbian queer film Fremde Haut/Unveiled (2005) as an example, Aaron argues “ultimately, what is distinguished is the potency of a new ‘quare’ cinema” (2012: 323). Working on a project of global queer cinema, Rosalind Galt uses Tan de repente/Suddenly (2002) as an example to call for a larger framing of queer cinema through the lens of the economic concept of “default,” arguing for the inherent queerness in terms of aesthetic as well as economic refusal of what she calls a “global default cinema” (Galt, 2013).…”

Section: Current Queer Filmmentioning

confidence: 99%

Crossover Dreams: Global Circulation of Queer Film on the Film Festival Circuits

Loist

2015

Diogenes (Engl. ed.)

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The ubiquity of gender-bending and sexually ambiguous imagery in the media seems to herald a post-gay era. But are LGBT/Q identities and representation politics really a thing of the past? Inspection of the circulation patterns of LGBT/Q images on a global scale suggests a more nuanced story. Taking the lead from distribution and film festival studies, in this essay I sketch out how LGBT/Q images travel around the world. The festival network was always an alternative channel to mainstream work. Therefore, I pay particular attention to the international film festival circuit with its art film bias, on one hand, and activist festivals, such as LGBT/Q film festivals and their LGBT/Q-themed films, on the other. Utilizing Lisa Henderson's notion of "queer relay" I argue that the relationship between the queer film ecosystem and the larger art film circuit is highly ambivalent. The deployed art film strategies reveal that we have not yet arrived at actual acceptance and universality in a post-gay, post-identitarian world. However, the positions on the side of distinction and cultural capital do not just lean towards exploitation of queer subcultural productions by neoliberal forces but offer also a relay position that accounts for queer agency in the wider cultural arena. The ubiquitous nature of gender-bending and sexually ambiguous imagery in mainstream media seems to suggest that we live in happy liberal post-gay times. A bearded drag queen persona from Austria named Conchita Wurst wins the Eurovision song contest 2014, uniting a Europe which was thought to be divided over issues of gender and sexuality (normatively thought to move from liberal West to conservative SouthEast). 1 One year earlier, the most prestigious art film award, the Palme d'Or, went to a film featuring the coming of age of a young woman with a full-on seven-minute unabashed same-sex sequence in La Vie d'Adèle/Blue is the Warmest Color. And the Guardian recently announced the arrival of a New-Wave Queer Cinema (Walters, 2012). But is it all really that easy? Are lesbian gay bisexual trans* queer (LGBT/Q 2) identities and representation politics a thing of the past and have gender and sexuality become non-dualistic concepts in media and society? Closer inspection of the circulation of LGBT/Q images on a global scale suggests a more nuanced story. In the following essay, I take the lead from current distribution studies as well as

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Section: Current Queer Filmmentioning

confidence: 99%

Crossover Dreams: Global Circulation of Queer Film on the Film Festival Circuits

Loist

2015

Diogenes (Engl. ed.)

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“…As I have already claimed, it does not stand as an example of what Galt calls a 'cinema of refusal', or what at other times she calls a 'default cinema'. Galt's arguments, which deal with both European and other cinemas, as well as recent Greek cinema, posit a form of cinema that refuses outright the terms and ideologies of contemporary capitalism (Galt 2013(Galt , 2014(Galt , 2017. On European films, Galt claims to be attempting 'to locate a cinematic form that could respond to the political question of Europe in the 21st century ' (2017, 11).…”

Section: Not a Cinema Of Refusalmentioning

confidence: 99%

Chevalier(2015) and the rules of the European game

Rushton

2019

Studies in European Cinema

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Chevalier (2015) and the Rules of the European Game On its surface, Athina Rachel Tsangari's Chevalier (2015) offers a commentary on contemporary masculinity, for the game called 'Chevalier' that the men in the film play is designed to show who is the 'best' man of them all. Writing in Sight and Sound, for example, Adam Nayman called the film a 'witty, affectionate satire of contemporary masculinity' (Nayman 2016, 32), while Violet Lucca in Film Comment claimed that the film was 'about male characters who obsess over the minutiae of their behavior and bodies' (Lucca 2016, 67). That Chevalier offers a humorous portrayal of contemporary masculinity is clear, but I want to argue that, even in its attempts to avoid it, the film cannot help raising the spectre of the recent Greek financial crisis. Tsangari has very strongly resisted such readings. 'The Greek crisis', she has claimed, 'is becoming a sort of fetishistic, exportable commodity for artists …. It's as if we as filmmakers are expected to be actively exporting a product, and that product is the national tragedy of Greece' (in Nayman 2016, 34). Nevertheless, against Tsangari's wishes, the crisis is, in fact, of utmost importance to the film. That is certainly what I argue here, adopting something akin to Fredric Jameson's notion of 'national allegory' by affirming that the personal conflicts played out in Chevalier can be read as allegories of the contemporary Greek political and financial crisis (see Jameson 1986). 1 My focus will not be entirely on Greece. Rather, I see the film as exploring the relationship between Greece and Europe, especially in the light of the strict economic austerity measures handed to

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“…See for more positive accounts of the transnational and market-oriented nature of Latin American Cinema Deborah Shaw (2007), Anne Marie Stock (2006), andLuisela Alvaray (2008). Joanna Page (2009), Rosalind Galt (2013), and Gerd Gemuenden ( 2017) are critical about these developments.…”

Section: Notesmentioning

confidence: 99%

Contemporary Latin American Cinema and Resistance to Neoliberalism: Mapping the Field

Sandberg

2018

Contemporary Latin American Cinema

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Buenos Aires, April 2017: On the opening night of the annual BAFICI film festival, hundreds of people flocked the entry of the Cine Gaumont. Rather than seeking entrance to the opening film, they gathered to protest against proposed cutback measures which threaten the existence of the Argentine state-owned production company, INCAA (Instituto Nacional de Cine y Artes Audiovisuales). Under the center-right government of President Mauricio Macri, a number of employees were dismissed and the budget for cultural activities was cut. Film productions are at risk of being terminated because promised grants are not being paid out or belatedly so (Fig. 1.1).The deteriorating state of affairs in the Argentine cultural sector mirrors a situation familiar to filmmakers and film personnel in other Latin American countries, where the responsibility of the state yields to the interests of private business and ownership. This essay investigates the impact of neoliberalism on Latin America filmmaking from the

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Default cinema: queering economic crisis in Argentina and beyond

Cited by 18 publications

References 0 publications

Crossover Dreams: Global Circulation of Queer Film on the Film Festival Circuits

Crossover Dreams: Global Circulation of Queer Film on the Film Festival Circuits

Chevalier(2015) and the rules of the European game

Contemporary Latin American Cinema and Resistance to Neoliberalism: Mapping the Field

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