Paris Is Burning: A Queer Film Classic (Queer Film Classics) by Lucas Hilderbrand

By Lucas Hilderbrand

Paris Is Burning (Jennie Livingston, 1991) captures the strength, ambition, wit, and fight of African-American and Latino members within the Eighties ny drag ball scene. This publication contextualizes the movie in the longer historical past of drag balls, the practices of documentary, the fervor of the tradition wars, and the advance of queer thought and important race reports.

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Extra info for Paris Is Burning: A Queer Film Classic (Queer Film Classics)

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It became one of the many “home movies” produced under the fictitious company name Gae-Ron Productions, named after Lewis’ children Gary and Ronnie. Another production Lewis co-wrote that included Janet and Tony was How to Smuggle a Hernia Across the Border. It was a funny story inspired by Dean Martin’s wartime personal problems with a hernia. “A lot of us would gather there and make these funny movies,” Janet recalled. “And we would then all go and have dinner, and we would go back and continue our shoot the next day.

The only good thing about Words and Music was they had Janet Leigh play my wife. 10 Through Lillian Burns, who was still tutoring her with daily acting lessons, Janet met actor Barry Nelson. A handsome man ten years her senior, Nelson was making a film called Undercover Maisie (1947). He and Janet started to spend a lot of time together, rehearsing scenes from famous plays and discussing acting techniques. At the same time Janet’s marriage was slowly disintegrating. Stan was frustrated that his musical aspirations had remained unfulfilled, and that he was making a living doing a job he disliked.

Von Sternberg accepted the restrictions, recognizing immediately Hughes’ own objectives: Janet and a collection of new jet-planes. ” “He was a very difficult man,” Janet recalled. “I am an easy-going person but he had the most quietly infuriating way of saying something…. ”41 Though von Sternberg finished shooting in seven weeks, the cast was brought in months later for additional scenes. Hughes 36 JANET LEIGH was dissatisfied with the result. Director Nicholas Ray was then brought in to shoot more scenes, and Furthman’s script was further diluted.

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