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Homorealist Uplift: Jaguar Productions’ Synthesis of Production Value with Intersectional Class Politics in a Landmark Gay Film
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A Public Records Request Rabbit Hole in the Study of Nontheatrical Distribution
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Obscenity Regulation and Film Exhibition: Policing Gay and Feminist Media Industries in Southern California, 1960 to 1979
Full text linkIn the 1960s and 1970s California was simultaneously at the forefront of the American adult film industry and a central stage for queer organizing and struggle. However, the links between queer history and adult film history extend beyond geographic proximity. In this period, the adult film industry embraced lucrative, but sexually illicit content that positioned it and its films as “deviant” from the postwar norms of heterosexual consumer culture. Queer “deviance” formed the connective tissue between this industry and its perceived obscenity both because sex in public was an illicit matter and because queer audiences, spaces, and content contributed significantly to the economic viability of the adult film industry in these decades. Despite adult-oriented motion pictures’ origins in the profit motives of exploitation cinema, queer-oriented industry practices, whether intentionally or not, facilitated forms of public queer visibility. Moving beyond representational approaches to adult film, this study’s examination of production, distribution, and exhibition foregrounds modes of censorship that range from business restrictions on market availability to law enforcement’s stringent policing of exhibition spaces under legal regimes such as obscenity. A heteronormative lens of legal rhetoric and enforcement sutured a perceived triad of obscenity, queerness, and contaminated public space onto the adult film industry and its patrons. Ultimately, the regulation and policing of California’s adult media industries in the 1960s and 1970s negatively impacted the niche media, spaces, and consumption sites that had energized the formation of marginal, queer audiences in this crucial period of film history
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Archival Practice and Gay Historical Access in the Work of Blade
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A Remembrance of Shan Sayles an Innovative Showman and Key Figure in the History of Gay Public Life
Full text linkThis article presents a microhistory of Shan Sayles’ entrepreneurship in film exhibition that involved both arthouse and exploitation cinemas. Covering the years up to around 1970, it also functions as a commemoration for Sayles with particular focus on the gay films he acquired for his theaters across the country in the late 1960s and early 1970s. The article was commissioned by the Bob Mizer Foundation for their relaunch of Mizer’s Physique Pictorial as an expansion on my article for The
Advocate entitled “Commemorating Two Forgotten Figures of Stonewall-Era Gay Film.” While some of the broader points echo from The Advocate article, this piece does not focus on Monroe Beehler, and instead includes additional original research fleshing out Sayles’ beginnings in arthouse exhibition as well as his later business practices. As of this writing, Physique Pictorial 49 is out-of-print
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From AIDS-era Queer Icon to Sanitized Nostalgic Property: The Cultural Histories of Bettie Page Merchandise Circulation
Full text linkThe merchandising of Bettie Page since the mid-20th century has evinced her diverse cultural associations at a variety of historical moments. Yet from a contemporary standpoint, the historical narratives prompted in the licensing of her name and image flatten her past into a palatable emblem of 1950s pin-up culture. In this article, I interrogate the ways Page’s image has been mobilized since the 1950s. I propose a cultural biography of Bettie Page attuned to her queer communitarian circulation in order to counter the nostalgic sanitation of her image since the 1990s
Embedded niche overlap: A media industry history of Yaoi Anime’s American distribution from 1996 to 2009
Full text linkThis article offers an industrial history of yaoi anime’s distribution in the United States by companies that acquired official distribution licenses. During the course of this history, the term “yaoi” was not always dominant in American anime vernacular; rather, it only ascended to widespread American usage after it was adopted by American distributors as an industry term. Yaoi anime’s complex distribution history reveals that, unlike yaoi manga, yaoi anime began and continues to be industrially situated at the overlap of seemingly disparate niche categories.Open Restriction set for Item 116637 on 2020-11-19T20:25:19Z with date null by [email protected] by Heejoung Shin ([email protected]) on 2020-11-19T20:37:09Z
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Distribution Struggle: Assembling a Media History of J. Brian’s Enterprises with Court Proceedings and Public Records
Full text linkThis article introduces the concept of “distribution struggle”—the panoply of cultural and industrial conflicts that must be traced and accounted for in distribution histories—to sequence a primary-sourced media history of J. Brian’s gay media enterprises. In tracing this history, primary sources are surprisingly accessible, and provide new insights into J. Brian’s industrial operations. By triangulating archival records with secondary accounts, this article provides a more nuanced cultural and industrial portrait of J. Brian. It argues that media industry historiography must frame historical narratives by accounting for the cultural and industrial struggles that culminated in the available archival sources, in this case, an accounting for the fact that the public record traces of J. Brian exist because of anti-gay interventions in gay media distribution
Distribution Struggle: Assembling a Media History of J. Brian’s Enterprises with Court Proceedings and Public Records
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