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Indie ReframedWomen's Filmmaking and Contemporary American Independent Cinema$
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Linda Badley, Claire Perkins, Michele Schreiber, and Michele Schreiber

Print publication date: 2016

Print ISBN-13: 9781474403924

Published to Edinburgh Scholarship Online: May 2017

DOI: 10.3366/edinburgh/9781474403924.001.0001

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Sexual In-betweener/Industry In-betweener: The Career and Films of Lisa Cholodenko

Sexual In-betweener/Industry In-betweener: The Career and Films of Lisa Cholodenko

Chapter:
(p.221) 13. Sexual In-betweener/Industry In-betweener: The Career and Films of Lisa Cholodenko
Source:
Indie Reframed
Author(s):

Maria San Filippo

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474403924.003.0014

This chapter claims that Lisa Cholodenko’s work exemplifies the sort of ‘in-betweenness’ that resists and challenges established categories. Identified with the lesbian branch of the New Queer Cinema of the early 1990s, evoking both praise and divisive reactions, Cholodenko’s High Art (1998), about the professional and sexual relationship between a young straight female art critic and journalist and a brilliant lesbian artist/heroin addict, was controversial at a time when lesbian indies were usually lo-fi romances. Likewise, her more mainstream lesbian family drama The Kids Are All Right (2010) has been accused of compromise with heteronormative patriarchal values. San Filippo argues that rather than ‘betraying’ lesbian cinema, her characters and films traverse boundaries and resist sexual, ideological and industrial categories.

Keywords:   Lisa Cholodenko, New Queer Cinema, lesbian cinema, “in-betweeness”

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