Stuart James Richards - The Queer Film Festival: Popcorn and Politics (Framing Film Festivals)

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Framing Film Festivals

Series Editors

Marijke de Valck

Department of Media and Culture Studies, Utrecht University, Utrecht, The Netherlands

Tamara Falicov

Department of Film and Media Studies, University of Kansas, Lawrence, KS, USA

Every day, somewhere in the world a film festival takes place. Most people know about the festival in Cannes, the worlds leading film festival, and many will also be familiar with other high profile events, like Venice, the oldest festival; Sundance, Americas vibrant independent scene; and Toronto, a premier market place. In the past decade the study of film festivals has blossomed. A growing number of scholars recognize the significance of film festivals for understanding cinemas production, distribution, reception and aesthetics, and their work has amounted to a prolific new field in the study of film culture. The Framing Film Festivals series presents the best of contemporary film festival research. Books in the series are academically rigorous, socially relevant, contain critical discourse on festivals, and are intellectually original. Framing Film Festivals offers a dedicated space for academic knowledge dissemination.

More information about this series at http://www.springer.com/series/14990

Stuart James Richards

The Queer Film Festival Popcorn and Politics

Stuart James Richards

University of Melbourne, Melbourne, Victoria, Australia

Framing Film Festivals

ISBN 978-1-137-59034-3 e-ISBN 978-1-137-58438-0

DOI 10.1057/978-1-137-58438-0

Library of Congress Control Number: 2016960897

The Editor(s) (if applicable) and The Author(s) 2016

This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed.

The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.

The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made.

Printed on acid-free paper

This Palgrave Macmillan imprint is published by Springer Nature

The registered company is Nature America Inc.

The registered company address is: 1 New York Plaza, New York, NY 10004, U.S.A.

To Mum and Dad with love

Acknowledgements

This project began as my PhD dissertation. I was warned numerous times at how difficult and lonely the experience was going to be. While, indeed, these last few years have been a challenge, I have found this period anything but isolating. The support I have received from family and friends has been incredibly gratifying, and it is imperative for me to take a moment to say thank you.

First and foremost, I would not have produced this work if it were not for the guidance from my supervisors Audrey Yue and Fran Martin from the School of Culture and Communication at the University of Melbourne. Their advice and encouragement have been invaluable and made me the researcher I am today. Thank you to the administrative staff both past and present from the School of Culture and Communication, particularly Annemarie Levin. I would also like to thank RMIT University, particularly Alexia Kannas, Allan Thomas, Brian Morris, and Stephen Gaunson for their support. Thank you to those who provided me with academic guidance throughout my tertiary years. Particular mentions must go to Barbara Creed, Felicity Coleman, Wendy Haslem, Chris Healy, Tom Apperley, Rimi Khan, Timothy Laurie, and Helen Young. Im significantly grateful for the mentorship and friendship of Angela Ndalianis, who never failed to keep me positive during this experience.

This project would not have been possible if it werent for the openness, hospitality, and support from my case studies the San Francisco Frameline International LGBTQ Film Festival, the Melbourne Queer Film Festival, and the Hong Kong Lesbian and Gay Film Festival. Special mention must go to Lisa Daniel from MQFF and everyone at Frameline, particularly Sarah Deragon and Sarah Jelinsky of Team Sassy (!), Alexis Whitham, Lares Feliciano, and Harris Kornstein for their friendship. All the interview subjects who took part have enriched this research. Thank you also to the Rowena Parade Corner Store for allowing the caf to be my second home.

Thanks to my fellow graduate researchers for the company. Particular mentions go to Sarah Comyn, Felicty Ford, Amanda Trevisanut, Louise Sheedy, Luke Heemsbergen, Dion Kagan, and Simone Gustafsson. To all my other friends, thank you. To the Mutineers, Pandorans, and any other team I have been a part of, the lols were plentiful, thank you. Thanks to John Wilson for assisting me with the cover design. To Dion Kagan, Katherine Copsey, Claire Miller, Mikhaila Clemens, Jeannie Lee, and Liz Mutineer, thank you for proof reading my work and for your friendship. I must give special mention to Liz, whose friendship over the years has helped me have the sense of humour I have today.

To my brothers Brendan and Cameron and sister Jennifer, thank you for your love and support. To my other sisters, Nuala Bethel and Olivia Monaghan, I simply could not have done this without either of your advice.

Finally to my parents Marcus and Linda Richards, your love and encouragement has been limitless and for that I thank you. This project is dedicated to you.

Contents

Index

List of Figures

Fig. 3.1 Lil Miss Hot Mess (Harris Kornstein) uses social media topromote Frameline

Fig. 3.2 Kiss Me Exhibition, curated by The Gaunts and Joe Lam, was part of HKLGFF 2014

Fig. 4.1 eCupid s main selling point is this privileged gay male figure

Fig. 4.2 The fi lm still used in MQFFs 2011 programme for La Mission

Fig. 4.3 Sporks bedroom is a manifestation of her insecurity

Fig. 4.4 The dinner scenes at the beginning and conclusion of the film demonstrate the difference in colour palette

Fig. 4.5 Imogene and Kathy K.s domestic space is open and colourful compared to Anoras claustrophobic and dull home

Fig. 4.6 Timmys world in Were the World Mine is incredibly queer even before the spell takes place

Fig. 4.7 The Castro Theatres programming

Fig. 4.8 The Roxie Theatre Programing

Fig. 4.9 The Victoria Theatre Programming

Fig. 5.1 Framelines Audience Demographics for 2010

List of Table

Table 4.1 Attendance figures for gay male romantic comedies screened at the Castro

The Author(s) 2016

Stuart James Richards The Queer Film Festival Framing Film Festivals 10.1057/978-1-137-58438-0_1

1. Introduction

Stuart James Richards 1

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