Academic literature on the topic 'Bruce LaBruce'

Queer theory is an effective tool for challenging ageist assumptions concerning the life course. Recent approaches by age studies scholars and queer theorists, such as Barbara Marshall, Linn Sandberg, Elizabeth Freeman, and Dustin B. Goltz, make use of a queer-theoretical lens to expose naturalized essentialist views of old age and the life course as normative constructions. As a significant way to heighten and shape cultural visibility, literary and filmic narratives play a crucial role in queering ageist cultural scripts of growing older and in highlighting the importance of non-heteronormative representations of aging. Leonora Carrington’s novel The Hearing Trumpet (1974) and Bruce LaBruce’s film Gerontophilia (2013) both exemplify, in their own ways, this process of queering as one of questioning, dismantling, and transforming essentialist assumptions about aging.

Abstract The aim of this case study is to present arthroscopic treatment of recurrent hip instability after acute post-traumatic posterior hip dislocation with a fracture of the posterior acetabular wall. A male patient aged 35 suffered a dislocation of the right hip joint with a fracture of the posterior acetabular wall due to an accident. The fracture was stabilized during emergency surgery with a locking compression plate, and the patient was released home in a hip brace. Multiple dislocations of the hip joint followed with the implant being confirmed as stable. Decision was made to qualify the patient for a right hip arthroscopy. During the surgery, ligamentum teres was reconstructed using gracilis and semitendinous muscle grafts, followed by the labrum and joint capsule repair, where the surgery that stabilized the acetabular wall fracture had damaged them. There were no complications following the procedure. Short-term follow-up of 3 months demonstrates the patient has a stable hip, reduced pain and has returned to pre-injury activities.

El presente artículo analiza la figura del zombi presentada en el filme Otto; or Up with Dead People del director Bruce LaBruce partiendo de la perspectiva biopolítica y con especial interés en su funcionamiento inmunitario. Nos proponemos realizar a partir de este análisis una reflexión sobre lo que llamamos “políticas de muerte” a la luz del zombi como monstruo biopolítico. En primer lugar, el zombie nos permite indagar sobre las formas de cualificación de la vida y el reparto de violencia sobre los cuerpos en torno a la distinción que puede leerse en el filme entre carne viviente y carne consumible. En segundo lugar es posible realizar a partir de la figura de Otto una reflexión sobre la sexualidad y las arquitecturas corporales en relación al discurso del posporno. Por último y en relación con lo anterior, el filme abre un espacio para problematizar las formas de pertenencia y la comunidad muerto-viviente a la luz de un cierto ethos neoliberal y su interpelación mercantil. La figuración del zombi nos permite así, a lo largo del desarrollo, iluminar espacios de agenciamiento o una determinada potencia afirmativa al interior del paradigma inmunitario y las políticas de muerte contemporáneas.

Fault Lines positions a theory of gay male subjectivity as it relates to the Queer skinhead and its dissemination in gay male pornography. In narrating the transformation of the original skinhead as a subcultural youth type to its present re-signification as a fetish and sexual identity within gay male subculture, Fault Lines reveals a tripartite problem of fetishism, sadomasochism and fascism. Through an analysis of Bruce LaBruce's film Skin Gang / Skin Flick (1999) these problems are contextualised within a discourse of gay male pornography, broadening the investigation to consider how problems of masculinity, violence and race manifest within a distinctly gay male sexual imaginary. Examining the representational function of the Queer skinhead, Fault Lines seeks to speculate on how notions of a gay male subject and subjectivity can be established at the intersection of an aesthetic, political and social experience.

Por meio de um estudo de caso de algumas obras do cineasta Bruce Labruce, essa investigação se dedica a compreender de que maneiras o conceito queer, em suas concepções teóricas, políticas e artísticas, se manifesta no cinema. Para tal, utilizamos a abordagem da teoria dos cineastas, que considera como fonte as reflexões dos próprios artistas que fazem cinema, expressas por meio de entrevistas, livros e os próprios filmes. Nesse sentido, a investigação utiliza os métodos análise bibliográfica e análise fílmica. No primeiro capítulo, construímos um diálogo teórico, buscando destacar os pontos comuns entre algumas correntes de pensamento influentes na teoria do cinema com as considerações presentes em textos considerados fundadores dos estudos queer. O segundo capítulo é dedicado a uma análise mais aprofundada das reflexões de Bruce Labruce, expressas em um de seus livros, e a análise fílmica de quatro obras do cineasta. O pensamento do artista, por sua vez, conduz a um olhar mais aprofundado sobre a relação entre arte, erotismo, pornografía e política, que, na teoria do cinema são vistos nos conceitos de realismo e prazer visual. Ao fim da investigação, é possível perceber aproximações e diferenças entre as reflexões acadêmicas e as reflexões do artista sobre a forma como o conceito queer surge nos filmes e suas implicações nas dimensões cinematográficas figurativas, críticas, narrativas e até mesmo possíveis interpretações pelo público. Dessa forma, confirmamos a validade da teoria dos cineastas enquanto abordagem que aproxima, de forma sistematizada, reflexões de caráter mais teórico dos artistas com reflexões produzidas pela academia.<br>Through a case study of some works by the filmmaker Bruce Labruce, this research is dedicated to understand in what ways the queer key concept, in its theoretical, political and artistic conceptions, manifests itself in the cinema. For this, we use the approach of the filmmakers’ theory, which considers as a source the reflections of the very artists who make movies, expressed through interviews, books and the films themselves. In this sense, the research uses as methods bibliographic and film analysis. In the first chapter, we build a theoretical dialogue, seeking to highlight the commonalities among some influential currents of thought in film theory with the considerations present in texts taken as founders of the queer studies. The second chapter is devoted to a more in-depth analysis of the reflections of Bruce LaBruce, expressed in one of his books, and film analysis of four filmmaker´s works. The thought of the artist, in turn, leads to a closer gaze at the relationship between art, eroticism, pornography and politics, that in film theory are seen in the concepts of realism and visual pleasure. At the end of the investigation, it is possible to perceive similarities and differences between the academic reflections and the artist´s reflections on the way the queer concept appears in the films and its implications on the figurative, critical, narrative cinematographic issues and even possible interpretations by the public. Thus, we confirm the validity of the filmmakers' theory as an approach that approximates, in a systematized way, reflections of a more theoretical character of the artists with reflections produced by the academy.

This dissertation examines the historical contexts, major themes, and archival practices of queercore, an anti-normative queer and punk subculture comprised of music, zines, film, art, literature and new media that was instigated in 1985 by Bruce LaBruce and G.B. Jones in Toronto, Ontario. Via their fanzine J.D.s., LaBruce and Jones declared “civil war” on the punk and gay and lesbian mainstreams and conjured queercore as a multimedia subculture situated in pointed opposition to the homophobia of mainline punk and the lifeless sexual politics and assimilationist tendencies of dominant gay and lesbian society. In the pages that follow, I engage wider histories of radical queer politics and punk aesthetics and values to reveal the generative and long-standing symbiosis between these two energies – a symbiosis that informs queercore, but that also extends beyond its temporal and material boundaries. Through close analysis of queercore films (e.g. No Skin Off My Ass, The Lollipop Generation, The Living End, By Hook or By Crook), music (e.g., Pansy Division, Tribe 8, Beth Ditto/The Gossip, Nomy Lamm) and zines (e.g., J.D.s, SCAB, Bimbox, Bamboo Girl, i’m so fucking beautiful), I establish queercore’s primary themes: explicit sexuality (the use of risky, erotic queer punk images and performances to undermine heteronormativity and confront accepted notions of gay and punk identity); imagined violence (the deployment of a threatened, as opposed to actualized, violence in the hopes of frightening and, thus, destabilizing powerful white, bourgeois, heterosexual masculinity); and bodily difference (the circulation of affirmative representations of marginalized queer bodies, and specifically those that are fat, disabled and/or gender non-normative). Finally, I conclude with an exploration of the institutions and individuals currently involved in queercore archival efforts, thus placing my project within a crucial lineage of subcultural preservation. Taken as a whole, this study asserts that queercore articulates and disseminates a set of alternative identities, aesthetics, politics and representations for queer folks to occupy and engage within social space, providing a dynamic anti-normative, anti-corporate, D.I.Y. (do-it-yourself) alternative to a consumer-capitalist hetero- and homo-normative mainstream.<br>text

Tracing the elaboration of the zombie in modern cinema—from George Romero through Bruce LaBruce—this chapter argues for a queer reading of the zombie as challenging the hetero-centrist structure of reproductive futurity that Lee Edelman outlined in his 2004 book No Future. The chapter exploits the uncertain ontology of the zombie (being neither dead nor alive) to make the point that, like “queer,” zombie-ness connotes a certain sense of transversality; zombies cut (or gnaw, rather) through definitions of various kinds with each bloody contact. The zombie virus is transported from wound to wound, and the visceral instantiation of the queer zombies in this chapter reaches an apex when the cinematic wound of zombie cinema intersects, flows into, the traumatic reality of the AIDS epidemic, as is shown in the analysis of LaBruce’sOtto; or, Up with Dead People.