![]() I discarded other items due to the degraded and unusable condition they were in when I received them. Furthermore, under oath, he stated „some of the items I received I no longer have because I gave them away to third parties. His lawyer has refused to disclose the current location of my materials.Ĭarney tried to cast doubt on the truthfulness of the inventory I presented. ![]() I gave Carney no rights to my materials except the right to hold them and return them to me on request. My life as a filmmaker, my past, and even my future reputation as a filmmaker are at stake. Without the digital video masters, my films, everything prior to 1990, „Casual Relations“, „Local Color, „The Scenic Route“, „Impostors“, „Mark Rappaport-The TV Spin-Off“, „Chain Letters“, plus the High-Definition version of „Exterior Night“, cannot be made available for streaming, commercial DVDs, video-on-demand, or any electronic delivery system down the road. After that, Carney hired a lawyer who stated Carney intends to defend his conduct by arguing that I “gave” him the materials outright as „a gift.” The court entered a default against Carney (who had not responded to my complaint) and ordered Carney to return the materials to me, or else be held in contempt of court. As a result, I hired a lawyer and filed a lawsuit in Massachusetts, where a judge issued a temporary restraining order and a preliminary injunction against Carney. Carney ignored all of my attempts to reach him. I sent Carney several e-mails (to various e-mail addresses), and I called his home and office and left numerous messages. In early April, I made several requests to Carney for the return of my materials. Since that time, various companies have expressed interest in streaming my films, and UCLA, in conjunction with The Sundance Institute, have volunteered to archive video masters of Sundance alumni films. Carney duly returned those video masters to me. Five years later, in 2010, I requested the return of some of my video masters to make copies of them for various film archives in Europe. I accepted his offer, with the understanding that he would return them to me upon request and that they remain at BU. When I mentioned this to Ray Carney, tenured professor at Boston University and author of several books on John Cassavetes and who also claims he is „generally recognized to be the leading scholarly authority on American narrative art film,“ he eagerly offered to hold all of my materials. I think that this movie is a perfect jumping-off place to look at gayness in the movies.When I moved to Paris seven years ago, I had to decide whether or not to take with me copies of my films, video masters, early drafts of scripts, duplicates of reviews and announcements, etc. ![]() There is a lot to be seen and thought about here and no one need come to any conclusion without adequate thought and research. So whether the claims are real is not as important as is the total affect of the film. We do see a lot of m/ relationships but I am not sure they can be classified as homosexual but then again we must question when those movies were made and being an open gay person was to have the kiss of death. This is a problem when a director gives too many opinions without adequate back-up. Some of the reviews that I have read have attacked the film because they feel that the claims do not hold up and while this may be true, it also may not be true. I would rather think that this is a movie that questions homosexuality instead of coming out and claiming something and to me, this makes it interesting. I am not sure how accurate he is in his assumptions but they are certainly something to think about. (Martin and Lewis, Hope and Crosby) and he seems to find homoerotic fantasies in places I never would have thought to look. However, he finds what he calls repressed homosexuality a bit too often for it to be conclusively such. Rappaport makes the assumption that those who watch this film are gay and he has geared the film to the gay viewer.ĭan Butler narrates a series a film clips and shows us what is gay in them and he tries very hard to substantiate what he says. He looks at themes and images that represent the gay perspective on film and by the time the film is over we understand just what he is telling us. Mark Rappaport takes us back to the time when gays hid behind the screen and he gives us quite a look at what went on. ![]() I love documentaries about the movies because so often I find little gems that I have missed.
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