Alphaville: Journal of Film and Screen Media. Issue 16: Queer Media Temporalities
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Item Queer media temporalities(Film and Screen Media, University College Cork, 2019) Pramaggiore, Maria; Kerrigan, Páraic; Holly, MichaelItem Queer media temporalities(Film and Screen Media, University College Cork, 2019) Pramaggiore, Maria; Kerrigan, PáraicThis special issue of Alphaville: Journal of Film and Screen Media on “Queer Media Temporalities” draws upon this theoretical tradition and its rich set of concepts to explore queer temporalities that emerge within or may be generated by our engagement with time-based screen media. In its focus on specific media forms, it joins work by Kate Thomas and Jodi Taylor, who explore the intersections between queer time and the formal parameters that govern the time-based genres of poetry and music. Our questions here relate to both resistances and transformations enabled by the encounter of queer with (old and new) media temporalities. We are interested in the way games, television, video and experimental film enable or demand a queer renegotiation of time. Our contributors examine the role that archival temporalities play in the representation of queer lives in history and the imaginative landscapes of games. They consider whether reproductive futurism can help us to think about the queer life cycle of a television series and its characters. How does queer childhood, or “growing up sideways” (Stockton) resonate with film form for filmmakers invested in a nonreproductive queer genealogy? What is the relationship between media obsolescence and the “queer art of failure” (Halberstam, Art)?Item Hiraeth, or queering time in archives otherwise(Film and Screen Media, University College Cork, 2019) Igwe, Onyeka; Stokely, J. D.Archives are the physical manifestations of our collective understanding of history, a way of proving and so legitimising the existence of cultures, practices, and peoples. However, for queer and trans people of colour (QTPOC), entrance into the archive is not easily permitted; the truths of their lives have been, and are presently, excluded, claimed as contingent and/or rendered “folk”—lesser forms of knowledge. “Hiraeth” is a Welsh word that is difficult to translate into English. It speaks of a longing or homesickness for a place that is no longer, or never was. For QTPOC, the archive is this, a hiraeth space. We use “hiraeth” to describe the liminal space in which experiences of home, media practices, and a relationship to the archive can exist. As two Black queer artists who in their work have been exploring ways to implode the archive, in this article we look at how our practices can expand what the archive holds and further provide a space to render the untranslatable, the im/possible, as archive material. It is a strategy of both redefinition and defiance.Item Games of archiving queerly: artefact collection and defining queer romance in Gone Home and Life is Strange(Film and Screen Media, University College Cork, 2019) Drouin, Renee AnnThe medium of video games often fails to depict queerness with positive representations. To combat the harmful stereotypes or optional queerness in the medium, I advocate for an application of queer archival methodologies to define and locate queerness in gaming. Queer archiving, with a focus on emotions, trauma, establishment of identity, and multimodality, pairs well with the digital nature of video games. Gone Home (2013) and Life Is Strange (2015), two video games with narratives reliant on the developing romantic relationships between teenage girls, grant us examples in which the inclusion of queerness is reliant on such archiving. Within each game, players gather artefacts to compile archives. In turn, these archives create irrefutable spaces in which queer content is included.Item Delphinium’s portrait of queer history: rethinking Derek Jarman’s legacy(Film and Screen Media, University College Cork, 2019) Stamm, LauraDelphinium: A Childhood Portrait of Derek Jarman (2009) portrays filmmaker Matthew Mishory’s interpretation of the childhood of Derek Jarman described in interviews and autobiographical writing such as At Your Own Risk. The portrait of Jarman honours his memory with a Super 8 inscription that repeats the queer sensibility of Jarman’s cinematic and painterly work. Mishory’s film positions Jarman as his filmmaking predecessor; even more so, it positions Jarman as a sort of queer ancestor. Delphinium’s sense of ancestry demands a reappraisal of Jarman’s work that foregrounds its creation of queer lineage. This article does just that, looking at Jarman’s Caravaggio (1986) and Edward II (1991) as both searches for queer origins and formations of queer futures. Through their explorations of queer continuity, Jarman’s films inscribe the process by which one learns to become queer and navigate a world that is so often hostile to queer existence. Their preservation of individual figures of the past provides a queer family history and a tool for education, a means for queers to understand their origins, as well as how to make sense of their own place in the world
