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Annotated Bibliography

730 Words3 Pages

Douglas, P. 2007, ‘Diversity and the gay and lesbian community: More than chasing the pink dollar,’ Ivey Business Journal (Online), pp. 1. This journal explores the support for the LGBT community from TB Bank Financial Group. This article suggests that the TB Bank Financial group has made diversity a business-owned initiative. This journal also explores one of the first and most impactful with the creation of the Diversity Leadership Council. This journal advocates that through TB Bank Financial Group’s diversity strategy and its broader outlook, it has been success in gaining attention with the LGBT+ community. This journal provides a useful insight on a successful diversity campaign by a corporate company. This journal delves into the success …show more content…

2017, ‘CEOs pushing Leftist agenda’, Cairns Post, March 22 2017, viewed 13 September 2017. This article explores how corporate companies that should be focusing on customer service and stakeholders rather than political and social issues. This article suggests that companies like ANZ, Telstra, Holden etc., never sign on issues about national security, however they are signing letters and petitions high of the Leftist agenda. The article suggests that these corporate companies think that focusing on these issues are a good idea to their ‘coke-addled marketing teams’ and ‘Gen Y “social media experts”, but essentially fail. This article provides a useful insight on the opposing side of ANZ Pride Network. Panahi discussion of how corporate companies care more about social issues more than customer services was interesting. There are many social issues that cross with customer service – because in fact these ‘issues’ do affect their customers. While, this article is engaging, it does have a very rightist agenda. And with no statistics provided it is very much an opinion piece, rather than research …show more content…

10, pp. 129 -142. This journal explores the growth of the Melbourne Queer Film Festival and how arts organisations are starting to embrace the creative industry. This journal suggests that the festival has become the middle ground between ‘community and neoliberal corporate interests.’ It explores the notion of how the Melbourne Queer Film Festival is a legitimate avenue of the distribution of queer films that would otherwise be overlooked. This article provides a useful insight on how Melbourne Queer Film Festival has been able to give a voice to those that are the minority. It explores that how the festival has been able to move queer movies that from the underground to a more formal and commercial setting. While this article does take a focused look on the queer arts community and the film industry – it does also give insights on the queer community it’s self that can be represented in other

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569 Words | 3 Pages

David Román creates excellent perspective into the haven and necessity of theatrical arts for homosexual Latino 's in Chapter 6 of Intervention entitled "Teatro Viva!" Román reveals that progressing as a community requires gay Latino men and women to use the theatre as a tool to break the socio-silence surrounding the idea of homosexuality and the AIDS virus. In this case, the region of Los Angeles, California is accounted for as having an enormous amount of input having to do with the de-marginalization of homosexual Hispanics in the world. "Teatro VIVA!" is the name of a Los Angeles county short-skit theatrical outreach program that provided a bilingual education of the gay Latino community confronted with AIDS during the early nineties. This chapter helps by providing the reader with a detailed record of many such performance acts in the Los Angeles around that time.

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1634 Words | 7 Pages

Sut Jhally’s documentary Dreamworlds 3 focuses primarily on the concept of heterosexual relations in music videos, but how do things change, or stay the same, when applied to a homosexual music video? By analyzing the music video titled “Lost on You” by female artist LP, it is apparent that Sut Jhally’s themes techniques of storytelling and constructing femininity hold ground even in homosexual music videos. The visuals, meaning the people and setting, as well as the roles being played lead to the conclusion that masculine and feminine stereotypes persist no matter how different media might be. The main theme being utilized is Jhally’s techniques of storytelling.

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1063 Words | 5 Pages

Throughout the film, femininity has made some small advances towards modern day culture in a progressive manner. Sexuality as defined by the Oxford Living

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1330 Words | 6 Pages

Even time, one of the most seemingly constant things in life is relative. Within this relative space is queer time. The queer movement has had its own timeline and relationship with time both within and outside of the dominant timeline. Unlike in the dominant culture in which one’s past remains in the past and the future is always progress, queer time constantly looks simultaneously forward and backward, appreciating the importance of the past for the creation of the future. This more fluid definition of time is demonstrated through editing and framing in “Hollywood Je T’aime” and the historical basis of “A Slacker and Delinquent in Basketball Shoes” as is the idea that people are not forgotten, simply because they are in the past.

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828 Words | 4 Pages

Camp is an aesthetic style that has long fascinated artists, writers, and cultural critics. In her essay "Notes on Camp," Susan Sontag argues that Camp is an apolitical sensibility, one that is defined by a love of the artificial, the exaggerated, and the outrageous. However, camp has become political over time due to it allowing the LGBTQ+ community to become mainstream, to break the boundaries of what is considered “normal” and “acceptable”, and to unfortunately marginalize groups of people. Canadian Filmmaker Bruce LaBruce argues that despite the fact that camp was originally intended for all audiences, it has transformed over time into a tool that was used for the LGBTQ community. In paragraph nine of Notes on Camp/Anticamp, LaBruce

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2465 Words | 10 Pages

In fact, some filmmakers refuse to screen their work at Queer festivals altogether as if doing so would suggest that their work is only relevant to Queer audiences. This phenomenon is discussed in the Canadian Journal of Film Studies as the Queer “ghetto” (Andersen 42). From a business perspective, some filmmakers are concerned that by partnering with festivals like Inside Out, they become confined to what is widely perceived as a niche market, “thus cutting short the potential market” (Andersen 42). On this topic, Elie Chivi states

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1940 Words | 8 Pages

Queerness is antithetical to the child proper and, as such, cannot be represented upon the screen. Instead, a normative narrative of masculinity and femininity must take its

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221 Words | 1 Pages

First annual of Disney World's “Gay Days” in 1991, it has grown to become one of the largest gay pride events in the world. Also in February of this year, Disney World hired its “first openly gay president”, George Kalogridis (Diana Chen, 2013). As this part of article was taken present that Walt Disney break the limitation of society at that time about homosexual persons. • Promotion from within or Internal Recruitment Methods In recruiting staff in the organization of Walt Disney.

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819 Words | 4 Pages

In my dissertation I will show the representation of transsexual FtM (female to male) characters and the response of the audiences who identify as non-cisgender. I will show that representation in media is important, therefore I will underline the obstacles that appear in queer cinema. Moreover, I will explore the idea of the character’s identity and relatability to the film viewers. I will focus on the issues that are present in films that could be labelled as “trans’ or “queer”. By explaining these terms, I will link the issues that queer cinema has to deal with, underlining the importance of choosing queer cast for queer films.

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968 Words | 4 Pages

"New Queer Cinema" was a term conceived by B. Ruby Rich in numerous publications, notably Sight & Sound, a British film journal that Jose Arroyo regularly reviews on. The term was to describe the appearance of specific films during the early 1990’s at Sundance Film Festivals that indicated a politicized viewpoint towards queer. In a 2013 interview conducted by 15min with Arroyo, he states that gays in film have been there since the beginning of film. For example, films of nudes by Eadweard Muybridge during the 1890’s.

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832 Words | 4 Pages

Huge hair lacquered and heels high, they danced to Kraftwerk and discovered a world away from their usual suburbia. One where clothing signified sexuality. This community was a life line ‘because clothing, along with adornment and demeanour’ is ‘a primary method of identification for and of gay men’ (Cole, 2000). Bridging a gap between alternative and gay club culture, it was the answer for boys like Richard who wanted to express themselves through the ‘most outrageous, shocking clothes and dance to the music of Siouxsie and the Banshees’ and ‘meet a boyfriend’ (Cole,

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1156 Words | 5 Pages

While Disney cinema appears to constantly equate queerness with evil, at the same time, they are opening the door for diverse representations of queerness by blurring the binary oppositions of gender and presenting dynamic expressions that challenge everything that is considered

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514 Words | 3 Pages

My intent would be to use this theoretical foundation to explore patriarchies impact in shaping and constraining gender norms and expressions for queer subjects, and the resultant effects on violence. Through gender performativity I could explore heterosexuality and gender roles as a performance based in repetition, and how that impacts queer gender expression (Butler, 1993). Queer theory can operate in a number of ways in my research. That is, Queer Theory, meaning theorizing about the experience of queerness, and Queer Theory meaning using a transgressive type of theory that challenges reductive paradigms by reading and writing

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949 Words | 4 Pages

East Palace, West Palace (1996) is a film made by Zhang Yuan, a renowned Chinese independent filmmaker widely known as “one of the Sixth Generation pioneers of illegal cinema” (Bordwell and Thompson, 2010, p.640). Despite international critical acclaim, the film was banned in China due to its controversial portrayal of homosexuality and being part of “an underground movement existing outside the state studio system” (Lim, 2006, p.30). This response will examine how East Palace, West Palace’s depiction of a homosexual persecuted-persecutor relationship between A Lan and Shi Xiaohua allegorizes “the relationship between the artist-intellectual and the state”, while the use of masochism serves to undermine state authority by granting the masochistic subject agency despite being in a position of weakness. (Lim, 2006, p.70).

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1261 Words | 6 Pages

Overall, there were specific motifs that emerged as central points of investigation for this study; however, additional research regarding these themes as well as others that this paper does not leave room to discuss are crucial for future queer oral history

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