Product Description: In a career beginning in the 1970s, Colin Campbell (1942 - 2001) was at the forefront of artists' video and, for thirty years, continued to invent a unique and personal form and content for the medium. Campbell responded early to video's invitation to performance and to its ease with sharing secrets...read more

Product Description: Filmmaker John Greyson and composer David Wall created an entirely new series of video installations, with Greyson providing the visuals and Wall the music. Their subject is AIDS and South Africa, the central figure a Black South African AIDS activist who refuses treatment until treatment is available for all...read more

For more than twenty years, film critic, teacher, activist, and fan Thomas Waugh has been writing about queer movies. As a member of the Jump Cut collective and contributor to the Toronto-based gay newspaper the Body Politic, he emerged in the late 1970s as a pioneer in gay film theory and criticism, and over the next two decades solidified his reputation as one of the most important and influential gay film critics. The Fruit Machine—a collection of Waugh’s reviews and articles originally published in gay community tabloids, academic journals, and anthologies—charts the emergence and maturation of Waugh’s critical sensibilities while lending an important historical perspective to the growth of film theory and criticism as well as queer moviemaking. In this wide-ranging anthology Waugh touches on some of the great films of the gay canon, from Taxi zum Klo to Kiss of the Spider Woman. He also discusses obscure guilty pleasures like Born a Man . . . Let Me Die a Woman, unexpectedly rich movies like Porky’s and Caligula, filmmakers such as Fassbinder and Eisenstein, and film personalities from Montgomery Clift to Patty Duke. Emerging from the gay liberation movement of the 1970s, Waugh traverses crises from censorship to AIDS, tackling mainstream potboilers along with art movies, documentaries, and avant-garde erotic videos. In these personal perspectives on the evolving cinematic landscape, his words oscillate from anger and passion to wry wit and irony. With fifty-nine rare film stills and personal photographs and an introduction by celebrated gay filmmaker John Greyson, this volume demonstrates that the movie camera has been the fruit machine par excellence. (view table of contents)

"Queer Looks" is a collection of writing by video artists, filmmakers and critics which explores the recent explosion of lesbian and gay independent media culture. A compelling compilation of artists' statements and critical theory, producer interviews and image-text works, this anthology demonstrates the vitality of queer artists under attack and fighting back. Each maker and writer deploys a surprising array of techniques and tactics, negotiating the difficult terrain between street pragmatism and theoretical inquiry. From guerilla Super-8 in Manila to AIDS video activism in New York; from dyke pirate movies in Berlin to London meditations on black gay life; from safer sex shorts to punk girl porn, "Queer Looks" zooms in on this very queer place in media culture, revealing a wealth of strategies, a plurality of aesthetics, and an artillary of resistances.