The Queer Coming Of Age Film Genre

This book argues for the existence of the Queer Coming of Age genre, in which films reveal the unique challenges experienced by queer people during this time of their lives, positing that these films are driven by a political undercurrent advocating for queer acceptance and that they provide guidance for queer people to understand their own lives.

In The Queer Coming of Age Film Genre, Brad Windhauser argues for the existence of this genre and, using a genre and queer theory lens, investigates how the initial, classic cluster of this genre’s films represent the unique issues experienced by queer people – including trans, non-binary, and intersex individuals - coming of age in society in the mid- to late 90s. As society evolved, the book posits, so too did the ways in which these films explored additional factors influencing the queer coming of age experience, such as race and economic status, in the genre’s second stage. Windhauser explores how this genre depicts the way queer people often engage with the coming-of-age process earlier than their cis-het peers, due to their queer identity, but also how this process can extend beyond adolescence into emerging adulthood and adulthood itself. Ultimately, the book demonstrates how these films have become a tool to both further political goals of queer advocacy and acceptance and to offer guidance to queer people looking to gain a deeper understanding of their own lives and experiences. Scholars of film studies, genre studies, pop culture, and queer studies will find this book of particular interest.

Explores the complex ethical dilemmas of human mobility in the context of climate change

Australian Genre Film interrogates key genres at the core of Australia’s so-called new golden age of genre cinema, establishing the foundation on which more sustained research on film genre in Australian cinema can develop. The book examines what characterises Australian cinema and its output in this new golden age, as contributors ask to what extent Australian genre film draws on widely understood (and largely Hollywood-based) conventions, as compared to culturally specific conventions of genre storytelling. As such, this book offers a comprehensive and up-to-date survey of Australian genre film, undertaken through original analyses of 13 significant Australian genres: action, biopics, comedy, crime, horror, musical, road movie, romance, science fiction, teen, thriller, war, and the Western. This book will be a cornerstone work for the burgeoning field of Australian film genre studies and a must-read for academics; researchers; undergraduate students; postgraduate students; and general readers interested in film studies, media studies, cultural studies, Australian studies, and sociology.

This book provides coverage of the diversity of Australian film and television production between 2000 and 2015. In this period, Australian film and television have been transformed by new international engagements, the emergence of major new talents and a movement away with earlier films’ preoccupation with what it means to be Australian. With original contributions from leading scholars in the field, the collection contains chapters on particular genres (horror, blockbusters and comedy), Indigenous Australian film and television, women’s filmmaking, queer cinema, representations of history, Australian characters in non-Australian films and films about Australians in Asia, as well as chapters on sound in Australian cinema and the distribution of screen content. The book is both scholarly and accessible to the general reader. It will be of particular relevance to students and scholars of Anglophone film and television, as well as to anyone with an interest in Australian culture and creativity.

Winner of the 2022 British Science Fiction Association for Best Short Fiction Finalist for the 2023 Locus Award for Best Novella From the author of the critically acclaimed Dominion of the Fallen trilogy comes a sparkling new romantic adventure full of kissing, sarcasm and stabbing. It was supposed to be a holiday, with nothing more challenging than babysitting, navigating familial politics and arguing about the proper way to brew tea. But when dragon prince Thuan and his ruthless husband Asmodeus find a corpse in a ruined shrine and a hungry ghost who is the only witness to the crime, their holiday goes from restful to high-pressure. Someone is trying to silence the ghost and everyone involved. Asmodeus wants revenge for the murder; Thuan would like everyone, including Asmodeus, to stay alive. Chased by bloodthirsty paper charms and struggling to protect their family, Thuan and Asmodeus are going to need all the allies they can—and, as the cracks in their relationship widen, they’ll have to face the scariest challenge of all: how to bring together their two vastly different ideas of their future... A heartwarming standalone book set in a world of dark intrigue. A Note on Chronology Spinning off from the Dominion of the Fallen series, which features political intrigue in Gothic devastated Paris, this book stands alone, but chronologically follows The House of Sundering Flames. It’s High Gothic meets C-drama in a Vietnamese inspired world–perfect for fans of Mo Xiang Tong Xiu’s Heaven Official’s Blessing, KJ Charles, and Roshani Chokshi’s The Gilded Wolves. Advance praise: “A darkly delicious romp full of ghosts, murder, dragons, and romance, with a couple that just keeps getting better and better as they push each other to new limits.” — Stephanie Burgis, author of Snowspelled and Scales and Sensibility “Beautifully described, deeply caring, and satisfyingly murderous, it’s an immersive delight.” — KJ Charles, author of the Will Darling Adventures

B. Ruby Rich designated a brand new genre, the New Queer Cinema (NQC), in her groundbreaking article in the Village Voice in 1992. This movement in film and video was intensely political and aesthetically innovative, made possible by the debut of the camcorder, and driven initially by outrage over the unchecked spread of AIDS. The genre has grown to include an entire generation of queer artists, filmmakers, and activists. As a critic, curator, journalist, and scholar, Rich has been inextricably linked to the New Queer Cinema from its inception. This volume presents her new thoughts on the topic, as well as bringing together the best of her writing on the NQC. She follows this cinematic movement from its origins in the mid-1980s all the way to the present in essays and articles directed at a range of audiences, from readers of academic journals to popular glossies and weekly newspapers. She presents her insights into such NQC pioneers as Derek Jarman and Isaac Julien and investigates such celebrated films as Go Fish, Brokeback Mountain, Itty Bitty Titty Committee, and Milk. In addition to exploring less-known films and international cinemas (including Latin American and French films and videos), she documents the more recent incarnations of the NQC on screen, on the web, and in art galleries.

NEW YORK TIMES AND NATIONAL BESTSELLER First loves, first songs, and the drugs and reckless high school exploits that fueled them—meet music icons Tegan and Sara as you’ve never known them before in this intimate and raw account of their formative years. High School is the revelatory and unique coming-of-age story of Sara and Tegan Quin, identical twins from Calgary, Alberta, growing up in the height of grunge and rave culture in the ’90s, well before they became the celebrated musicians and global LGBTQ icons we know today. While grappling with their identity and sexuality, often alone, they also faced academic meltdown, their parents’ divorce, and the looming pressure of what might come after high school. Written in alternating chapters from both Tegan’s point of view and Sara’s, the book is a raw account of the drugs, alcohol, love, music, and friendships they explored in their formative years. A transcendent story of first loves and first songs, it captures the tangle of discordant and parallel memories of two sisters who grew up in distinct ways even as they lived just down the hall from one another. This is the origin story of Tegan and Sara.

Award-winning author David L. Pike offers a unique focus on the crucial quarter-century in Canadian filmmaking when the industry became a viable force on the international stage. Pike provides a lively, personal, and accessible history of the most influential filmmakers and movements of both Anglo-Canadian and Quebecois cinema, from popular movies to art film and everything in between. Along with in-depth studies of key directors, including David Cronenberg, Patricia Rozema and Denys Arcand, Jean-Claude Lauzon, Robert Lepage, Léa Pool, Atom Egoyan, and Guy Maddin, Canadian Cinema since the 1980s reflects on major themes and genres and explores the regional and cultural diversity of the period. Pike positions Canadian filmmaking at the frontlines of a profound cinematic transformation in the age of global media and presents fresh perspectives on both its local and international contexts. Making a significant advance in the study of the film industry of the period, Canadian Cinema since the 1980s is also an ideal text for students, researchers, and Canadian film enthusiasts.