![]() ![]() The festival network was always an alternative channel to mainstream work. Taking the lead from distribution and film festival studies, in this essay I sketch out how LGBT/Q images travel around the world. ![]() ![]() But are LGBT/Q identities and representation politics really a thing of the past? Inspection of the circulation patterns of LGBT/Q images on a global scale suggests a more nuanced story. The ubiquity of gender-bending and sexually ambiguous imagery in the media seems to herald a post-gay era. In their own way, they are defiant against mainstream queer representations and demonstrate a resurgence of films that service a community that is in need of queer intellectual stimulation. They respond to the state of contemporary independent cinema and utilize film form to allow for the accessibility of their queer characters. Their success will be determined by their representation in both queer and non-queer film festival circuits and beyond. This article looks at recent films such as Weekend (Haigh, 2011), Stranger by the Lake (Guiraudie, 2013), Appropriate Behaviour (Akhavan, 2014), Pariah (Rees, 2011) and the work of Xavier Dolan as being successful queer-themed films that meet the criteria outlined by scholars of NQC. They represented the marginalized within the contemporary LGBT communities. Ruby Rich, have argued that films like Paris is Burning (Livingston, 1991), Poison (Haynes, 1991) and Swoon (Kalin, 1992) were united by their sense of defiance. Queer film scholars, such as Michele Aaron and B. The original NQC occurred in the early 1990s, which saw a wave of queer films that were successful on the mainstream international film festival circuit, at venues such as Cannes and Sundance. This article argues that we are currently experiencing a renaissance of New Queer Cinema (NQC). ![]()
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