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In this episode of High Theory, Laura Stamm talks about the biopic. One of the oldest forms of narrative cinema, biographical pictures are a mainstay of the medium today. Early biopics played an important role in public health discourse, representing the discoveries of science and the lives of scientists, which in turn led queer artists to adopt the genre in response to the AIDS crisis. Laura's book, The Queer Biopic in the AIDS Era (Oxford UP, 2022), asks why queer filmmakers repeatedly produced biographical films of queer individuals living and dead throughout the years surrounding the AIDS crisis. These films evoke the genre's history building up lives worthy of admiration and emulation and the parallel history of representing lives damaged. By portraying lives damaged by inconceivable loss, queer filmmakers challenge the illusion of a coherent self presumably reinforced by the biopic genre and in doing so, their films open the potential for new means of connection and relationality. In the episode Laura references many films, including the Greta Garbo film Queen Christina (1933); Freud: The Secret Passion (1962); The Story of Louis Pasteur (1936); Dr. Ehrlich's Magic Bullet (1940); John Greyson's musical Zero Patience (1993); and the Amy Winehouse biopic Back to Black (2024). Her research extends beyond the 1980s moment of crisis, and in the episode she gives a good explainer pre-code Hollywood and (briefly) the New Queer Cinema of the 1990s. If you were interested in this episode and want to learn more about queer representation in US popular culture, check out Margaret Galvan's episode on Visibility. Laura Stamm is Assistant Professor of Health Humanities and Bioethics and Director of Diversity, Equity, and Inclusion for Department of Medicine at University of Rochester. She completed her PhD in Film and Media Studies and Gender, Sexuality, and Women's Studies at the University of Pittsburgh. Dr. Stamm's research interests broadly focuses on LGBTQ+ health, transgender studies, and medicine in visual culture. Beyond the book discussed here, her work has recently appeared in the edited collection New Queer Television: From Marginalization to Mainstream (Intellect Press, 2024) and Synapsis on “From the Clinic to the Talk Show: Narratives of Trans History in Framing Agnes.” The image for this episode shows photographs by Rob Corder of photographs by Peter Hujar of two queer artists, the sculptor Louise Nevelson and the writer, photographer, film maker, etc., David Wojnarowicz. Left: Peter Hujar, "Louise Nevelson (II), 1969". Gelatin silver print (1934-1987) Morgan Library. BAM Right: Peter Hujar, "David Wojnarowicz", 1981. Gelatin silver print (1934-1987) Menschel Collection. BAM Photos by Rob Corder. We do not own these images, but we do like them. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
In this episode of High Theory, Laura Stamm talks about the biopic. One of the oldest forms of narrative cinema, biographical pictures are a mainstay of the medium today. Early biopics played an important role in public health discourse, representing the discoveries of science and the lives of scientists, which in turn led queer artists to adopt the genre in response to the AIDS crisis. Laura's book, The Queer Biopic in the AIDS Era (Oxford UP, 2022), asks why queer filmmakers repeatedly produced biographical films of queer individuals living and dead throughout the years surrounding the AIDS crisis. These films evoke the genre's history building up lives worthy of admiration and emulation and the parallel history of representing lives damaged. By portraying lives damaged by inconceivable loss, queer filmmakers challenge the illusion of a coherent self presumably reinforced by the biopic genre and in doing so, their films open the potential for new means of connection and relationality. In the episode Laura references many films, including the Greta Garbo film Queen Christina (1933); Freud: The Secret Passion (1962); The Story of Louis Pasteur (1936); Dr. Ehrlich's Magic Bullet (1940); John Greyson's musical Zero Patience (1993); and the Amy Winehouse biopic Back to Black (2024). Her research extends beyond the 1980s moment of crisis, and in the episode she gives a good explainer pre-code Hollywood and (briefly) the New Queer Cinema of the 1990s. If you were interested in this episode and want to learn more about queer representation in US popular culture, check out Margaret Galvan's episode on Visibility. Laura Stamm is Assistant Professor of Health Humanities and Bioethics and Director of Diversity, Equity, and Inclusion for Department of Medicine at University of Rochester. She completed her PhD in Film and Media Studies and Gender, Sexuality, and Women's Studies at the University of Pittsburgh. Dr. Stamm's research interests broadly focuses on LGBTQ+ health, transgender studies, and medicine in visual culture. Beyond the book discussed here, her work has recently appeared in the edited collection New Queer Television: From Marginalization to Mainstream (Intellect Press, 2024) and Synapsis on “From the Clinic to the Talk Show: Narratives of Trans History in Framing Agnes.” The image for this episode shows photographs by Rob Corder of photographs by Peter Hujar of two queer artists, the sculptor Louise Nevelson and the writer, photographer, film maker, etc., David Wojnarowicz. Left: Peter Hujar, "Louise Nevelson (II), 1969". Gelatin silver print (1934-1987) Morgan Library. BAM Right: Peter Hujar, "David Wojnarowicz", 1981. Gelatin silver print (1934-1987) Menschel Collection. BAM Photos by Rob Corder. We do not own these images, but we do like them. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film
In this episode of High Theory, Laura Stamm talks about the biopic. One of the oldest forms of narrative cinema, biographical pictures are a mainstay of the medium today. Early biopics played an important role in public health discourse, representing the discoveries of science and the lives of scientists, which in turn led queer artists to adopt the genre in response to the AIDS crisis. Laura's book, The Queer Biopic in the AIDS Era (Oxford UP, 2022), asks why queer filmmakers repeatedly produced biographical films of queer individuals living and dead throughout the years surrounding the AIDS crisis. These films evoke the genre's history building up lives worthy of admiration and emulation and the parallel history of representing lives damaged. By portraying lives damaged by inconceivable loss, queer filmmakers challenge the illusion of a coherent self presumably reinforced by the biopic genre and in doing so, their films open the potential for new means of connection and relationality. In the episode Laura references many films, including the Greta Garbo film Queen Christina (1933); Freud: The Secret Passion (1962); The Story of Louis Pasteur (1936); Dr. Ehrlich's Magic Bullet (1940); John Greyson's musical Zero Patience (1993); and the Amy Winehouse biopic Back to Black (2024). Her research extends beyond the 1980s moment of crisis, and in the episode she gives a good explainer pre-code Hollywood and (briefly) the New Queer Cinema of the 1990s. If you were interested in this episode and want to learn more about queer representation in US popular culture, check out Margaret Galvan's episode on Visibility. Laura Stamm is Assistant Professor of Health Humanities and Bioethics and Director of Diversity, Equity, and Inclusion for Department of Medicine at University of Rochester. She completed her PhD in Film and Media Studies and Gender, Sexuality, and Women's Studies at the University of Pittsburgh. Dr. Stamm's research interests broadly focuses on LGBTQ+ health, transgender studies, and medicine in visual culture. Beyond the book discussed here, her work has recently appeared in the edited collection New Queer Television: From Marginalization to Mainstream (Intellect Press, 2024) and Synapsis on “From the Clinic to the Talk Show: Narratives of Trans History in Framing Agnes.” The image for this episode shows photographs by Rob Corder of photographs by Peter Hujar of two queer artists, the sculptor Louise Nevelson and the writer, photographer, film maker, etc., David Wojnarowicz. Left: Peter Hujar, "Louise Nevelson (II), 1969". Gelatin silver print (1934-1987) Morgan Library. BAM Right: Peter Hujar, "David Wojnarowicz", 1981. Gelatin silver print (1934-1987) Menschel Collection. BAM Photos by Rob Corder. We do not own these images, but we do like them. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts
In this episode of High Theory, Laura Stamm talks about the biopic. One of the oldest forms of narrative cinema, biographical pictures are a mainstay of the medium today. Early biopics played an important role in public health discourse, representing the discoveries of science and the lives of scientists, which in turn led queer artists to adopt the genre in response to the AIDS crisis. Laura's book, The Queer Biopic in the AIDS Era (Oxford UP, 2022), asks why queer filmmakers repeatedly produced biographical films of queer individuals living and dead throughout the years surrounding the AIDS crisis. These films evoke the genre's history building up lives worthy of admiration and emulation and the parallel history of representing lives damaged. By portraying lives damaged by inconceivable loss, queer filmmakers challenge the illusion of a coherent self presumably reinforced by the biopic genre and in doing so, their films open the potential for new means of connection and relationality. In the episode Laura references many films, including the Greta Garbo film Queen Christina (1933); Freud: The Secret Passion (1962); The Story of Louis Pasteur (1936); Dr. Ehrlich's Magic Bullet (1940); John Greyson's musical Zero Patience (1993); and the Amy Winehouse biopic Back to Black (2024). Her research extends beyond the 1980s moment of crisis, and in the episode she gives a good explainer pre-code Hollywood and (briefly) the New Queer Cinema of the 1990s. If you were interested in this episode and want to learn more about queer representation in US popular culture, check out Margaret Galvan's episode on Visibility. Laura Stamm is Assistant Professor of Health Humanities and Bioethics and Director of Diversity, Equity, and Inclusion for Department of Medicine at University of Rochester. She completed her PhD in Film and Media Studies and Gender, Sexuality, and Women's Studies at the University of Pittsburgh. Dr. Stamm's research interests broadly focuses on LGBTQ+ health, transgender studies, and medicine in visual culture. Beyond the book discussed here, her work has recently appeared in the edited collection New Queer Television: From Marginalization to Mainstream (Intellect Press, 2024) and Synapsis on “From the Clinic to the Talk Show: Narratives of Trans History in Framing Agnes.” The image for this episode shows photographs by Rob Corder of photographs by Peter Hujar of two queer artists, the sculptor Louise Nevelson and the writer, photographer, film maker, etc., David Wojnarowicz. Left: Peter Hujar, "Louise Nevelson (II), 1969". Gelatin silver print (1934-1987) Morgan Library. BAM Right: Peter Hujar, "David Wojnarowicz", 1981. Gelatin silver print (1934-1987) Menschel Collection. BAM Photos by Rob Corder. We do not own these images, but we do like them. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/lgbtq-studies
In this episode of High Theory, Laura Stamm talks about the biopic. One of the oldest forms of narrative cinema, biographical pictures are a mainstay of the medium today. Early biopics played an important role in public health discourse, representing the discoveries of science and the lives of scientists, which in turn led queer artists to adopt the genre in response to the AIDS crisis. Laura's book, The Queer Biopic in the AIDS Era (Oxford UP, 2022), asks why queer filmmakers repeatedly produced biographical films of queer individuals living and dead throughout the years surrounding the AIDS crisis. These films evoke the genre's history building up lives worthy of admiration and emulation and the parallel history of representing lives damaged. By portraying lives damaged by inconceivable loss, queer filmmakers challenge the illusion of a coherent self presumably reinforced by the biopic genre and in doing so, their films open the potential for new means of connection and relationality. In the episode Laura references many films, including the Greta Garbo film Queen Christina (1933); Freud: The Secret Passion (1962); The Story of Louis Pasteur (1936); Dr. Ehrlich's Magic Bullet (1940); John Greyson's musical Zero Patience (1993); and the Amy Winehouse biopic Back to Black (2024). Her research extends beyond the 1980s moment of crisis, and in the episode she gives a good explainer pre-code Hollywood and (briefly) the New Queer Cinema of the 1990s. If you were interested in this episode and want to learn more about queer representation in US popular culture, check out Margaret Galvan's episode on Visibility. Laura Stamm is Assistant Professor of Health Humanities and Bioethics and Director of Diversity, Equity, and Inclusion for Department of Medicine at University of Rochester. She completed her PhD in Film and Media Studies and Gender, Sexuality, and Women's Studies at the University of Pittsburgh. Dr. Stamm's research interests broadly focuses on LGBTQ+ health, transgender studies, and medicine in visual culture. Beyond the book discussed here, her work has recently appeared in the edited collection New Queer Television: From Marginalization to Mainstream (Intellect Press, 2024) and Synapsis on “From the Clinic to the Talk Show: Narratives of Trans History in Framing Agnes.” The image for this episode shows photographs by Rob Corder of photographs by Peter Hujar of two queer artists, the sculptor Louise Nevelson and the writer, photographer, film maker, etc., David Wojnarowicz. Left: Peter Hujar, "Louise Nevelson (II), 1969". Gelatin silver print (1934-1987) Morgan Library. BAM Right: Peter Hujar, "David Wojnarowicz", 1981. Gelatin silver print (1934-1987) Menschel Collection. BAM Photos by Rob Corder. We do not own these images, but we do like them.
We're back after a brief hiatus with a doozie of a movie to talk about! Zero Patience is an original musical dramedy directed and written by John Greyson and released in 1993. This film follows, seriously, an immortal British explorer-sexologist-turned-museum-taxidermist Sir Richard "Dick" Burton (actor John Robinson) and the earth-walking spirit of Zero, the gay man accused of originating the HIV-AIDS epidemic in North America (actor Normand Fauteux). With the help of Zero, Dick uncovers the truth behind the AIDS epidemic. Already a shocking premise, this movie exemplifies the daringness of the New Queer Cinema era, and it doubles down by including some hilarious and outlandish musical numbers, including a barbershop quartet on sauna etiquette and a duet between buttholes. Underneath it all, the movie has a solid emotional message at its core as it humanizes "Patient Zero" of the AIDS epidemic and left Jake and Kevin with lots to uncover! How has this not been made into an off-Broadway production yet? Does this film have more staying power than Philadelphia, released the same year? Is Randy Shilts being unfairly spoofed? This and more on this week's Cinema Very Gay! The next dastardly queer-coded Disney villain we visit is none other than Professor Ratigan (but don't call him a rat) from the movie The Great Mouse Detective from 1986. Voiced by the noted bisexual master of horror, Vincent Price, Ratigan brings a new level of danger to the queer villain role as he is matched against the protagonist, Basil of Baker Street. He has the usual flamboyance we have come to expect from a Disney villain, but brings on the murderousness even more than we have seen! Talk about a jealous ex-boyfriend.
In 1984 French Canadian flight attendant Gaétan Dugas was falsely accused of bringing H.I.V. to America. He was dubbed “Patient Zero.” In 1993 John Greyson wrote and directed a movie musical about the myth. Zero Patience is raunchy, surreal and political
Kelly McCormack is an actress, writer, and storyteller. She has appeared in the shows Letterkenny, Killjoys, That's My DJ, The Neddeaus of Duqesne Island as well as the upcoming A League of Their Own reboot. She is the writer and star of the new film Sugar Daddy opposite Colm Feore, which premiered at the Whistler Film Festival in December and was released nationally April 9. John Greyson is one of Canada's most politically charged filmmakers. He has made the queer cult films Zero Patience, Lillies, and Uncut, as well as directing episodes of Queer As Folk, and the documentary Fig Trees. In 2009, he withdrew from TIFF in response to the festival's spotlight and support of Tel Aviv. His new experimental documentary short International dawn Chorus Day uses birdsong to tell the stories of LGBTQ refugees from the Middle East. The film was released April 29. Subscribe to Endeavours on Spotify Social @EndeavoursRadio --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/dan-mcpeake/message
On this World AIDS Day, Wayne introduces Phillip to the curious Canadian cult classic fantasy musical 'Zero Patience' (1993). Aiming to counteract the HIV/AIDS Patient Zero theory, is John Greyson's simply a product of its time, or will the boys pop a boner for this quirky queer tale? Seen this movie? Tweet us your thoughts and score out of five at twitter.com/FREDtheALIENpro Broadcast: 1 December 2020. (This episode was recorded from two separate studios.)
Galaxy recently sat with a true survivor. Actor Brendan Fletcher is a rising star in Hollywood, but a few years ago his dreams almost ended when he was hospitalized after sustaining an injury during a scene involving a firearm on the set of a drama series. Don't miss out as Brendan chats about his career, gun violence, his favorite celebrity, Arrow, siren, ghosts and more. Brendan Fletcher is a Canadian actor, screenwriter, and producer who has appeared in film, television and theatre. He first gained recognition as a child actor, winning a Leo Award and being nominated for a Gemini Award his acting debut in the made-for-television film Little Criminals. He subsequently won the Genie Award for Best Leading Actor for John Greyson’s The Law of Enclosures, and was nominated for Best Actor in a Supporting Role for Turning Paige. Fletcher is known for playing arrow, troubled, eccentric, or unhinged characters, and is considered a character actor. He has appeared in high-profile films like Tideland, Freddy vs. Jason, Citizen Gangster, and The Revenant. He had the leading role in Uwe Boll’s Rampagetrilogy, playing mass murderer Bill Williamson. He has also appeared in television series such as Smallville, The Pacific, Rogue, Hell on Wheels, and Siren. He portrays Stanley Dover in the DC Arrowverse. For more amazing episodes like this one go to: www.ComicCon-Radio.com Follow us on Instagram @ComicConRadio Please subscribe to Comic Con Radio on any platform you like! Always give us 5 stars. Please share this episode with the world! We love you all… Thank you for loving us back!
Alexander and William discuss Zero Patience, John Greyson's movie musical about AIDS. Their conversation finds points of comparison with Once, Philadelphia and Stop Making Sense.Download this episode here. (38 MB) Find more information about this film and related ones on their respective IMDb pages: Zero Patience, Philadelphia and And the Band Played On.
C'est un des rendez-vous incontournables de l'automne : Chéries Chéris, le festival du film lesbien gay bi trans et queer +++ de Paris, qui entame sa 23e édition. On en parle avec son président Cyril Legann. Pendant une semaine du 14 au 21 Novembre on pourra découvrir des fictions, des documentaires, des courts métrages avec une programmation spéciale de films liés à la lutte contre le VIH avec notamment Portrait d'une présidente de Brigitte Tijou ou Zéro patiente de John Greyson, un focus sur le brésil et pleins de soirées spéciales, de rencontres et de débats. Retrouvez la programmation détaillée sur le site du festival. Animation : Lila
Genevieve, oh Genevieve, why must you be so fickle. Breaking down every few miles. It’s only 60 miles from London to Brighton but in these turn of the 20th century cars it feels more like 600! Hijinks and pranks ensue along the way. Directed by Henry Cornelius, with some sweet mouth organ tunes provided by Larry Adler, starring Dinah Sheridan, John Greyson, Kay Kendall and Kenneth More. It’s part travel film, part slapstick comedy and part commentary on post World War II London. All in all a rollicking good time! Enjoy!
GENERATIONS of QUEERS is an art exhibition that pairs an older generation of activists and artists with a younger generation of artists and activists. Not only an exhibition, there will be artists talks, tours, a blog and the launch of a graphic novel. The artists are guest Elisha Lim as well as John Greyson, Robert Flack and Kiley May. The differences and the similarites are there and what is the thread that unites them into something that is queer? And whatever age you are, ya gotta laugh. We'll be talking to comic Paul Hutcheson who's part of The Queer As F*ck Comedy Night. A regular comedy night that brings together a bunch of queers who want to make yo laugh. No jokes about old wrinkly nude men will be made!GUESTSELISHA LIM, artist and storytellerLISA DEANNE SMITH, curator, writerPAUL HUTCHESON writer, comedian “At 50, everyone has the face he deserves.” George Orwell
GENERATIONS of QUEERS is an art exhibition that pairs an older generation of activists and artists with a younger generation of artists and activists. Not only an exhibition, there will be artists talks, tours, a blog and the launch of a graphic novel. The artists are guest Elisha Lim as well as John Greyson, Robert Flack and Kiley May. The differences and the similarites are there and what is the thread that unites them into something that is queer? And whatever age you are, ya gotta laugh. We'll be talking to comic Paul Hutcheson who's part of The Queer As F*ck Comedy Night. A regular comedy night that brings together a bunch of queers who want to make yo laugh. No jokes about old wrinkly nude men will be made!GUESTSELISHA LIM, artist and storytellerLISA DEANNE SMITH, curator, writerPAUL HUTCHESON writer, comedian “At 50, everyone has the face he deserves.” George Orwell
Murder is Passing is a transmedia crime mystery told over 42 days on 300 digtial screens across 60 Toronto subway stations, daily newspapers, online video and social media. Here's the podcast where we speak to writer director John Greyson and co-producer Sharon Switzer who works for Pattison Onetop (the digital screens company) Arts Programming Curator. http://murderinpassing.com/ http://www.onestopmedia.com/
Award winning film maker John Greyson talks about the culture boycott being launched against Israel. Mary Agnes Welch of the Canadian Association of Journalists discusses the re-arrest of G20 activist Alex Hundert. Mitch Podoluk introduces anticapitalist and antiwar music on Music is the Weapon.
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