Browsing: September-October 2017

September-October 2017

Blog Posts

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CLAUDE CAHUN may not be particularly well known outside the art world, but this highly readable biography of the 20th-century French writer, artist, and photographer ought to help change this situation.

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At times Venkatesh’s categorization of Maricón and New Maricón cinema comes across as a distinction between “gay” and “queer” films. To an extent this analogy holds true.

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In After the Blue Hour, the narrator bears the name of the author himself. A preface informs us that the 24-year-old John Rechy has received a letter, forwarded by his publisher, from a man who admires two short stories recently published in magazines, and extends an invitation to spend the summer with him on his private island.

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Afterglow, based in part on S. Asher Gelman’s own experience with an extra-marital relationship, shows that he can write strong individual scenes for his actors that have the ring of truth.

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Lane’s performance in this production is simply jaw-dropping. Kushner’s pleasure in writing such a dark character is evident: he gave Cohn a lot of the best lines.

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Florine Stettheimer is remarkable as a woman and artist because, although a privileged white intellectual, she knew that she had both the freedom and responsibility to represent what she saw as the truth.

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Reviews of the films God’s Own Country, Tom of Finland, After Louie, and Beach Rats.

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THE TITLE of this eight-part series that aired on FX refers to the famous feud between those titans of Tinseltown who costarred in What Ever Happened to Baby Jane?, Bette Davis and Joan Crawford.

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