ABSTRACT
Los Angeles filmmaker Gregg Araki has been getting attention in what has been conveniently dubbed the “Queer New Wave.” Film festivals in 1992 have been dominated by a group of gay films including Araki’s The Living End. These films are some of the “hippest” of independent films, providing fresh, distinctive, and challenging points of view and aesthetics distinguished by unconventionality. They’ve proven to be marketable—to the point of being screened in mall cineplexes. However, the films receiving the press and funds are for the most part by and represent white males, excluding lesbians and gays of color, and lesbians in general.
