In Curating Deviance, Marc Francis scavenges film history for signs of vibrant, wayward life in the film programming of US art house and repertory cinemas between 1968 and 1989. Francis examines how creative and savvy programmers screened films by the likes of John Waters, Pier Paolo Pasolini, Russ Meyer, Rainer Werner Fassbinder, and a bevy of others in major cities across the United States, forming intertextual constellations in their repertory calendars. These programs allied a dizzying range of sexual and gendered outlaws, including stigmatized practices often overlooked by LGBT-focused queer theory. Curating Deviance reveals how repertory and art cinemas built a coalition of outcasts stigmatized for their taboo desires or identities, rekindling queer utopian imaginaries.
- Cover
- Contents
- Acknowledgments
- Introduction
- 1. Promiscuous Programming: Filmic Eclecticism in Post-1968 Art House Cinema
- 2. Deviant Repertories: The Queer Typologies and Taxonomies of Art House Curating
- 3. Erotic Intertextuality: On the Programmatic Forms of Desire
- 4. Repertory Time: Double Features and the Temporality of Queer Spectatorship
- 5. For Shame!: On the History of Programming Queer “Bad Objects”
- Afterword: Curating Queer Cinema After 1989
- Notes
- Bibliography
- Index
- A
- B
- C
- D
- E
- F
- G
- H
- I
- J
- K
- L
- M
- N
- O
- P
- Q
- R
- S
- T
- U
- V
- W
- Y
- Z
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