Read more
Informationen zum Autor Stuart Richards received his doctoral degree in the School of Culture and Communication at the University of Melbourne, Australia. He currently teaches at both The University of Melbourne and RMIT University. He is a programmer for the Melbourne Queer Film Festival and on the committee for online film journal Senses of Cinema. His primary research interests are queer cinema, film festivals, the creative industries, and contemporary Hollywood. Klappentext This book examines the queer film festival and opens the discussion on social enterprises and sustainable lesbian, gay, bisexual, transgender and intersex (LGBTI) organisations. With over 220 events worldwide and some of the bigger budgets exceeding $1 million, the queer film festival has grown to become a staple event in all cosmopolitan cities’ arts calendars. While activism was instrumental in establishing these festivals, the pink dollar has been a deciding factor in its financial sustainability. Pretty gay boys with chiselled abs are a staple feature, rather than underground experimental faire. Community arts events, such as these, are now a creative industry. While clearly having a social purpose, they must also concern themselves with the bottom line. For all the contradictory elements of its organisational growth, this conflict makes the queer film festival an integral site for analysis. This book takes a multidisciplinary approach in examining the queer film festival as a representative snapshot of the current state of queer cinema and community based film festivals. The book looks at queer film festivals in San Francisco, Hong Kong and Melbourne to argue for the importance of these institutions remaining as community events. Zusammenfassung This book examines the queer film festival and opens the discussion on social enterprises and sustainable lesbian, gay, bisexual, transgender and intersex (LGBTI) organisations. With over 220 events worldwide and some of the bigger budgets exceeding $1 million, the queer film festival has grown to become a staple event in all cosmopolitan cities’ arts calendars. While activism was instrumental in establishing these festivals, the pink dollar has been a deciding factor in its financial sustainability. Pretty gay boys with chiselled abs are a staple feature, rather than underground experimental faire. Community arts events, such as these, are now a creative industry. While clearly having a social purpose, they must also concern themselves with the bottom line. For all the contradictory elements of its organisational growth, this conflict makes the queer film festival an integral site for analysis. This book takes a multidisciplinary approach in examining the queer film festival as a representative snapshot of the current state of queer cinema and community based film festivals. The book looks at queer film festivals in San Francisco, Hong Kong and Melbourne to argue for the importance of these institutions remaining as community events. Inhaltsverzeichnis Introduction.-.Chapter 1: The Queer Film Festival and the Creative Industries.-.Chapter 2: The Queer Film Festival as a Social Enterprise .-.Chapter 3: Queer Film Festival Programming and Homonormativity.-.Chapter 4: The Space of the Film Festival.-.Conclusion. ...
List of contents
Introduction.-.Chapter 1: The Queer Film Festival and the Creative Industries.-.Chapter 2: The Queer Film Festival as a Social Enterprise .-.Chapter 3: Queer Film Festival Programming and Homonormativity.-.Chapter 4: The Space of the Film Festival.-.Conclusion.
