Angelina Maccarone is a German film director and writer.
31-690: Maccarone may refer to people with the surname Maccarone : Angelina Maccarone (born 1965), German film director. screenwriter and professor Giordano Maccarone (born 1990), Italian footballer Juan Carlos Maccarone (1940–2015), Argentine Roman Catholic bishop Massimo Maccarone (born 1979), Italian footballer Sam Maccarone (born 1975), American film actor, director and writer Grace Maccarone , children's book editor and author Gustavo Maccarone (born 1987), Brazilian offensive midfielder Sal Maccarone (born 1949), American kinetic sculptor See also [ edit ] Maccarone (art gallery) ,
62-438: A "multiplicity of voices and sexualities" and equally had a "collection of different aesthetics" in their work. The issue of "lesbian invisibility" had been raised in queer cinema, since more funding went to gay male filmmakers than lesbian directors, as is the case with the heterosexual/mainstream film industry, and as such, much of queer cinema focused on the "construction of male desire". In her 1992 article, Rich commented on
93-530: A New York art gallery McCarron Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Maccarone . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Maccarone&oldid=1129001295 " Categories : Disambiguation pages Disambiguation pages with surname-holder lists Hidden categories: Short description
124-605: A confrontational and often antagonistic approach towards heterosexual culture. These directors were making their films at a time when the gay community was facing new challenges from the AIDS crisis in the 1980s and the conservative political wave brought on by the presidency of Ronald Reagan in the United States and the government of Margaret Thatcher in the United Kingdom. Jarman was diagnosed with AIDS in 1986, and died in 1994 at
155-531: A film about marital infidelity in which the central characters' lesbianism is a relatively minor aspect of a story and the primary theme is how a long-term relationship can become troubled and unfulfilling regardless of its gender configuration, as a prominent example of the trend. The French film Blue Is the Warmest Colour , which won the Palme d'Or at the 2013 Cannes Film Festival , has also been singled out as
186-446: A form of sexuality that was fluid and subversive of traditional understandings of sexuality. The major film studio to discuss these issues was aptly named New Line Cinema with its Fine Line Features division. Since 1992, the phenomenon has also been described by various other academics and has been used to describe several other films released since the 1990s. Films of the new queer cinema movement typically share certain themes, such as
217-734: A lesbian relationship as powerful and free.; It proceeded to win the Jury Grand Prize at the International LGBT Festival in Montreal and the Jury Award for Best Narrative Feature at the Seattle L & G Film Festival. The next year, Maccarone directed and released Verfolgt , which was finished in Hamburg. Prior to its release, she stated "This will be a scandal." This is most likely due to
248-434: A specific political movement, new queer cinema films were invariably radical, as they sought to challenge and subvert assumptions about identity, gender, class, family and society. The 1991 documentary Paris Is Burning introduced audiences to yet another subcultural realm. Director Jennie Livingston captured the realities of New York's drag balls and houses , and of the people of color who occupied these spaces. This
279-499: Is a term first coined by the academic B. Ruby Rich in Sight & Sound magazine in 1992 to define and describe a movement in queer -themed independent filmmaking in the early 1990s. It is also referred to as the "queer new wave". The term developed from use of the word queer in academic writing in the 1980s and 1990s as an inclusive way of describing gay, lesbian, bisexual and transgender identity and experience, and also defining
310-478: Is different from Wikidata All article disambiguation pages All disambiguation pages Angelina Maccarone Angelina Maccarone was born in Pulheim, Germany , 1965. A child of immigration, she is the daughter of an Italian father - who was also a guest worker - and a German mother who together moved to Germany in the 1960s. Maccarone originally sought a career in music before turning to film. She played
341-473: The AIDS crisis of the 1980s, the film movement itself can be seen as a response to the crisis. The tone and energy of these movies reflected the assertive outrage of AIDS activist organizations of the past decade. AIDS activist videos, in particular, had a strong influence on the themes and imagery in new queer cinema as many of its notable figures were directly involved with AIDS activism. These films commented on
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#1733092682561372-598: The 1980s, the new queer cinema presented human identity and sexuality as socially constructed, and therefore fluid and changeable, rather than fixed. In the world of New Queer Cinema, sexuality is often a chaotic and subversive force, which is alienating to and often brutally repressed by dominant heterosexual power structures. Films in the new queer cinema movement frequently featured explicit and unapologetic depictions of same-sex sexual activity, and presented same-sex relationships that reconfigured traditional heterosexual notions of family and marriage. While not all identifying with
403-570: The age of 52. Jarman's public promotion of gay rights and equality have established him as an influential activist within the LGBTQ community. Queer theory and politics were emerging topics in academic circles, with proponents arguing that gender and sexual categories, such as homosexual and heterosexual, were historical social constructs, subject to change with cultural attitudes. Rich noted that many films were beginning to represent sexualities that were unashamedly neither fixed nor conventional, and coined
434-621: The annual Cannes Film Festival in 2011. Charlotte Rampling: The Look is a 2011 documentary film about the life of English actress, model, and singer Charlotte Rampling . The film delves into the life work of Rampling, who explains in an interview the difficulty of having to perform in films directed completely in languages other than English. Specifically, she notes how performing in various movies in France have allowed her to become completely fluent in French. Maccarone describes her desire for creating
465-490: The beginning of her career in film-making. In 1995, Maccarone wrote the final screenplay for a movie with the same name as the treatment, which turned out to be the coming-out comedy Is Mausi Coming Out? [ de ] With this film, she made her directorial debut and was nominated for the Telestar award. She then made another film in 1998 titled Everything Will Be Fine (Alles wird gut) , which also won an award, as it
496-500: The blurring of these roles and identities. Queer cinema filmmakers sometimes made films in genres that were typically considered mainstream, then subverting conventions by depicting the "question of pleasure" and celebrating excess, or by re-adding homosexual themes or historical elements where they had been erased through straightwashing (e.g. in Derek Jarman 's 1991 historical film Edward II ). Queer cinema filmmakers called for
527-454: The controversial plot, where a middle-aged female probation officer is seduced by a 17-year-old male teen in her charge. In 2011, Maccarone wrote and directed a documentary known as Charlotte Rampling: The Look . It tells the British actress' life story as it is revealed through a series of conversations that uncover details about Rampling's career and personal thoughts on life. It was presented at
558-537: The documentary in an interview with Film Makers Live after submitting the film to the Cannes Film Festival in 2011. She states her passion and respect for Rampling, noting that the film was created "as a gift" and that she wished to look more in depth at how she worked, and her types of work she produced. She also notes that the film was an ode to Rampling's courage, and wanted to use the film to get to know her better. New Queer Cinema " New queer cinema "
589-636: The electric guitar and became a lyricist when she was 14 years old. In 1985, she attended the University of Hamburg and majored in German and American Studies. Maccarone currently lives in Berlin with her partner, film editor Bettina Böhler . Maccarone has been writing screenplays since 1992. In that same year, she wrote a screenplay treatment that won the award of the Hamburg Department of Culture, which marked
620-460: The failure of the Ronald Reagan administration to respond to the AIDS epidemic and the social stigma experienced by the gay community. Given the relative invisibility of references to AIDS in mainstream Hollywood film-making, the work of new queer cinema was hailed by the gay community as a welcome correction to a history of under-representation and stereotyping of gay and lesbian people. Among
651-410: The films cited by Rich were Todd Haynes 's Poison (1991), Laurie Lynd 's RSVP (1991), Isaac Julien 's Young Soul Rebels (1991), Derek Jarman 's Edward II (1991), Tom Kalin 's Swoon (1992), and Gregg Araki 's The Living End (1992). All the films feature explicitly gay and lesbian protagonists and subjects; explicit and unapologetic depictions of or references to gay sex; and
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#1733092682561682-408: The heritage for queer cinema, notably Ulrike Ottinger , Chantal Akerman and Pratibha Parmar . An important influence on the development of queer cinema was Rainer Werner Fassbinder 's 1970s and 1980s European art films , which added a "gay and queer sensibility" to film (e.g., Querelle from 1982, based on Genet's novel). Rosa von Praunheim has made more than 100 films on queer topics since
713-419: The influence of new queer cinema was evolving toward more universal audience appeal. Rich, the originator of the phrase "new queer cinema", has identified the emergence in the late 2000s of LGBT-themed mainstream films such as Brokeback Mountain , Milk , and The Kids Are All Right as a key moment in the evolution of the genre. Both Troche and Mathews singled out Stacie Passon 's 2013 Concussion ,
744-526: The late 1960s, many of them have been shown and rated internationally; some of the director's films are considered milestones in queer cinema. Von Praunheim became an international icon of queer cinema. Another influence on queer cinema was the Brazilian filmmaker Héctor Babenco , whose film Kiss of the Spider Woman , from 1985, depicted a man in prison, who is seduced by his cellmate. His films also examined
775-451: The phrase "new queer cinema". Other important examples of new queer cinema include the first feature film by a black lesbian, Cheryl Dunye 's The Watermelon Woman (1996), and Hong Kong director Wong Kar-wai 's Happy Together (1997). Beginning in the 2010s, a number of LGBT filmmakers, including Rose Troche and Travis Mathews , identified a newer trend in LGBT filmmaking, in which
806-514: The rejection of heteronormativity and the lives of LGBTQ protagonists living on the fringe of society. Susan Hayward states that queer cinema existed for decades before it was given its official label, such as the films of French creators Jean Cocteau ( Le sang d'un poète in 1934) and Jean Genet ( Un chant d'amour in 1950). Queer cinema is associated with avant-garde and underground films (e.g., Andy Warhol 's 1960s films). In avant-garde film, there are lesbian filmmakers, who laid
837-456: The relationship between sexual, social, and political oppression, which would go on to become key themes of new queer cinema. The identification of queer cinema probably emerged in the mid-1980s through the influence of queer theory , which aims to "challenge and push further debates on gender and sexuality" as developed by feminist theory and "confuse binary essentialisms around gender and sexual identity, expose their limitations", and depict
868-582: The status quo of heterosexual definition and resisted promoting "positive" images of lesbians and gay men that had been advocated by the gay liberation movement of the 1970s and 1980s. In the films of new queer cinema, the protagonists and narratives were predominantly LGBTQ , but were presented invariably as outsiders and renegades from the rules of conventional society, who embraced radical and unconventional gender roles and ways of life, frequently casting themselves as outlaws or fugitives. Drawing on postmodernist and poststructuralist academic theories of
899-598: The strong gay and lesbian presence on the previous year's film festival circuit and coined the phrase "new queer cinema" to describe a growing movement of similarly themed films being made by gay and lesbian independent filmmakers, chiefly in North America and the United Kingdom. Rich developed her theory in The Village Voice and Sight & Sound , describing films that were radical in form and aggressive in their presentation of sexual identities, which challenged both
930-477: Was an arguably underground world with which many Americans were unfamiliar. Aesthetic excellence and flamboyance were crucial in drag performances and competitions. Stylized vogue dancing was also exhibited as central to the drag experience, notably influencing the artistry of pop icon Madonna . New queer cinema figures like Livingston encouraged viewers to suspend their ignorance, and enjoy the diversity of humanity. Not only did these films frequently reference
961-560: Was the winner of Audience Awards in multiple cities, such as Los Angeles and Toronto. In 2005, Maccarone's feature-film Fremde Haut was released. It is about a gay Muslim woman fleeing from Iran to seek asylum in Germany, and it takes on topics regarding unclear and changing representations of identity as a lesbian Muslim woman. Filmed during the New Queer Cinema movement, Fremde Haut is also noted for its few moments of briefly portraying