Suppressed Soundtracks: Tracking Camp Trajectory in American Queer Cinema’s Music, from Kubrick to Tarantino

“For now, it was lovely music that came to my aid. There was a window open with the stereo on, and I viddied right at once what to do.” ~ Alex DeLarge, A Clockwork Orange In Stanley Kubrick’s dystopian, totalitarian 1971 picture A Clockwork Orange, a musical motif is enough to incite violence – one movement of Beethoven’s “Symphony No.9 in D Major” enough to … Continue reading Suppressed Soundtracks: Tracking Camp Trajectory in American Queer Cinema’s Music, from Kubrick to Tarantino

“A Roman Wilderness of Pain”: The Doors, Wagner, The Rolling Stones and Western Escapism in the Postmodern, Warring World of Apocalypse Now

“We’ll have ourselves a hellavuh airstrike tonight. A lightshow. How do you like The Doors’: ‘C’mon Baby Light My Fire’?” ‘…I like it.’ “I love it.” ‘You’re crazy.’     ~ Col. Walter Kurtz and Capt. Benjamin Willard, Apocalypse Now, Screenplay (1979) It begins in a hellish firestorm. Vietnamese tree-lines fill with fluorescent yellow smoke; their foreign soil engulfed by American napalm. Accompanying the inferno: the … Continue reading “A Roman Wilderness of Pain”: The Doors, Wagner, The Rolling Stones and Western Escapism in the Postmodern, Warring World of Apocalypse Now

Gays and Gardenias: Hollywood’s Queer Representation Regression

“What’s a faggot?” ‘A faggot is…a word used to make gay people feel bad.’ A beat. “Am I a faggot?”                                                                                          ~ Little and Juan, in Moonlight (2016) A gasp? Sure. A tear? Probably. A yawn? Maybe. A laugh? You wouldn’t think so – but, apparently, the above sequence from Barry Jenkins’ heartrending film Moonlight, despite its emotional tension, can elicit reactionary laughter … Continue reading Gays and Gardenias: Hollywood’s Queer Representation Regression