Overview

Headline: Examines how LGBT filmmaking in France and Spain moves across borders and finds new audiences Blurb: The book advances the current state of film audience research and of our knowledge of sexuality in transnational contexts by analysing how French LGBTQ films are seen in Spain and Spanish ones in France. It studies films (in various media and platforms) and their reception across four languages (Spanish, French, Catalan, English) and considers and engages with participants from across a range of digital and physical audience locations, with a particular focus on festivals. It examines films that chronicle the local (in portraying national and sub-national identities) and draws on the regional-global (translating and transferring foreign models of non-heterosexual experience). No comparative and crosscutting study with audience research at its heart has yet been undertaken. Key Features: Offers a full, clear, and comparative cultural history of LGBTQ film since the 1990s in France and Spain and of its activist and theory-inspired connectionsHas audience reception at the core, working with an extensive corpus of responses Makes broad use of social networking sites and the popular LGBTQ press to gauge response Covers LGBTQ festivals including those in Barcelona, Bilbao, London, Lyon, Madrid, Manchester, Paris and Toulouse Is interested in short, independent, ephemeral and documentary film production as well as commercially-pitched feature films Looks at the cross-border impact of the auteur and big-name directors (e.g. Pedro Almodóvar, Cesc Gay, Sébastien Lifshitz, François Ozon) Sets its findings against mainstream LGBTQ critical reception, written in Catalan, English, French, and Spanish Keywords: French cinema; Spanish cinema; audiences; LGBTQ cultures; lesbian and gay film festivals Subject: Film Studies Headline: Examines how LGBT filmmaking in France and Spain moves across borders and finds new audiences Blurb: The book advances the current state of film audience research and of our knowledge of sexuality in transnational contexts by analysing how French LGBTQ films are seen in Spain and Spanish ones in France. It studies films (in various media and platforms) and their reception across four languages (Spanish, French, Catalan, English) and considers and engages with participants from across a range of digital and physical audience locations, with a particular focus on festivals. It examines films that chronicle the local (in portraying national and sub-national identities) and draws on the regional-global (translating and transferring foreign models of non-heterosexual experience). No comparative and crosscutting study with audience research at its heart has yet been undertaken. Key Features: Offers a full, clear, and comparative cultural history of LGBTQ film since the 1990s in France and Spain and of its activist and theory-inspired connectionsHas audience reception at the core, working with an extensive corpus of responses Makes broad use of social networking sites and the popular LGBTQ press to gauge response Covers LGBTQ festivals including those in Barcelona, Bilbao, London, Lyon, Madrid, Manchester, Paris and Toulouse Is interested in short, independent, ephemeral and documentary film production as well as commercially-pitched feature films Looks at the cross-border impact of the auteur and big-name directors (e.g. Pedro Almodóvar, Cesc Gay, Sébastien Lifshitz, François Ozon) Sets its findings against mainstream LGBTQ critical reception, written in Catalan, English, French, and Spanish Keywords: French cinema; Spanish cinema; audiences; LGBTQ cultures; lesbian and gay film festivals Subject: Film Studies

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9781474425995

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Reviews

This book carves out a vital space at the intersection of contemporary LGBTQ and Transnational film studies. It is equally important as a document of the translatability and border-crossing qualities essential to European cultures. Perriam and Waldron demonstrate brilliantly how tastes, values, desires and fantasies are mobilized through films for different LGBTQ audiences, but this is not all. Their intervention is critical because it comes at a time when the very idea of Europe is in jeopardy, and they subtly remind us that the study of film festivals and audiences can throw light on what is shared and what desires and values produced in one linguistic area can mean for another.--Nuria Triana Toribio, University of Kent

Author Information

Chris Perriam has worked as Professor of Hispanic Studies at the University of Manchester since 2004.

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