Revision as of 23:40, 27 October 2012 editCrisco 1492 (talk | contribs)Autopatrolled, Administrators138,248 edits update← Previous edit | Latest revision as of 00:49, 22 November 2024 edit undoJevansen (talk | contribs)Autopatrolled, Extended confirmed users, Page movers, Pending changes reviewers, Rollbackers3,406,568 edits Moving from Category:Collage film to Category:Canadian collage films using Cat-a-lot | ||
(152 intermediate revisions by 60 users not shown) | |||
Line 1: | Line 1: | ||
{{short description|1993 short film by Mike Hoolboom}} | |||
{{good article}} | |||
{{Use dmy dates|date=June 2021}} | |||
{{Use Canadian English|date=August 2012}} | |||
{{Infobox film | {{Infobox film | ||
| name = Frank's Cock | | name = Frank's Cock | ||
| image = | | image = Frank's Cock (1993) 1.png | ||
| image_size = | |||
| border = | |||
| alt = | | alt = | ||
| caption = | | caption = | ||
Line 10: | Line 10: | ||
| producer = Alex Mackenzie | | producer = Alex Mackenzie | ||
| writer = Mike Hoolboom | | writer = Mike Hoolboom | ||
| screenplay = |
| screenplay = | ||
| story = | | story = | ||
| |
| based_on = <!-- {{based on|title of the original work|writer of the original work}} --> | ||
| narrator = ] | | narrator = ] | ||
| starring = Callum Keith Rennie | | starring = Callum Keith Rennie | ||
Line 20: | Line 20: | ||
| studio = | | studio = | ||
| distributor = | | distributor = | ||
| released ={{Film date|df=yes|1993|||Canada}} | | released = {{Film date|df=yes|1993|||Canada}} | ||
| runtime = 8 minutes | | runtime = 8 minutes | ||
| country = Canada | | country = Canada | ||
Line 26: | Line 26: | ||
| budget = | | budget = | ||
| gross = | | gross = | ||
}} | }} | ||
'''''Frank's Cock''''' is a 1993 Canadian ] |
'''''Frank's Cock''''' is a 1993 Canadian ] written and directed by ]. The eight-minute production stars ] as an unnamed narrator who discusses his relationship with his partner, Frank. The two met while the narrator was a teenager and spent nearly ten years together. Frank has since been diagnosed with ], and the narrator fears his death. The story was based on the experience of one of Hoolboom's friends at ], which Hoolboom adapted after receiving a commission to create a short film about ]. | ||
Shot on a low budget, the work is shown in a split-screen format with interspersed scenes from popular culture, ], and ]; this format is meant to symbolise the "fragmentation of the body" experienced by AIDS sufferers.{{sfn|Bunbury 1994, Hollywood and Other Canadas}} ''Frank's Cock'' was critically acclaimed and won several awards, including |
Shot on a low budget, the work is shown in a split-screen format with interspersed scenes from popular culture, ], and ]; this format is meant to symbolise the "fragmentation of the body" experienced by AIDS sufferers.{{sfn|Bunbury 1994, Hollywood and Other Canadas}} Produced by Alex Mackenzie, ''Frank's Cock'' was critically acclaimed and won several awards, including the NFB–John Spotton Award for best Canadian short film at the ]. The script has been republished several times and has inspired a short on ] issues in Canada's ]. | ||
==Synopsis== | ==Synopsis== | ||
An unnamed narrator (]), who as a teenager intended to be the "] of sex" or "] with a hard-on",{{sfn|Hoolboom 1997, Three Scripts}} discusses how he met and fell in love with an older man named Frank, whom he met at a ] session. The two began an older brother–younger brother fantasy and moved in together. Frank has a voracious sexual appetite and, at times, invites the narrator for whole-day sex sessions. He is a tender lover, teaching his partner how to fly a ] and cooking ]s for him. In turn, the narrator is pleased with Frank's attentions and their sexual experimentation, although he is initially confused by Frank's insistence on listening to ]'s '']'' during sex. As their ten-year anniversary approaches, Frank – having lost large amounts of weight and developed ]s – has been diagnosed with ], leaving the narrator stunned; he concludes the narration with "I'm going to miss him. He was the best friend I ever had."{{sfn|Hoolboom 1997, Three Scripts}} | |||
An unnamed narrator (]), who as a teenager intended to be the "] of sex" or "] with a hard-on",{{sfn|Hoolboom 1997, Three Scripts}} discusses how he met and fell in love with an older man named Frank. After the two met at a ] session, they began an older brother–younger brother fantasy and moved in together. Frank has a voracious sexual appetite and, at times, invites the narrator for whole-day sex sessions. He is a tender lover, teaching his partner how to fly a ] and cooking ]s for him. The narrator is pleased with Frank's attentions and their sexual experimentation, although he is initially confused by Frank's insistence on listening to ]'s '']'' during sex. As their ten-year anniversary approaches, Frank – having lost much weight and developed ]s – has been diagnosed with ], leaving the narrator stunned; he concludes the narration with "I'm going to miss him. He was the best friend I ever had."{{sfn|Hoolboom 1997, Three Scripts}} | |||
==Production== | ==Production== | ||
The Canadian director ] was diagnosed with ] in 1988 or 1989, after going to donate blood. In a 1993 interview, he stated that he felt himself working harder after the diagnosis, finishing films at a more rapid rate because he was uncertain how long he would live. Hoolboom also became "fascinated with a body of parts spliced and spliced again", experimenting with "interruptive rhythms" as a way to reexamine simple acts.{{sfn|de Bruyn 1993, What He Said}}{{sfn|Waugh|2006|p=316}} Having previously focused on films about the body, Hoolboom began dealing heavily with fragmentation, HIV/AIDS, and situations faced by those with the virus; ''Frank's Cock'' was his first venture at directly addressing the AIDS issue.{{sfn|TIFF, Mike Hoolboom}}{{sfn|Lacey 1998, Portrait of the Filmmaker}}{{sfn|Waugh|2006|p=315}} | |||
The Canadian director ] was diagnosed with ] in 1988 or 1989,<!--he forgets when--> after going to donate blood. In a 1993 interview, he stated that he felt himself working harder after the diagnosis, finishing films at a more rapid rate because he was uncertain how long he would live. Hoolboom also became "fascinated with a body of parts spliced and spliced again", experimenting with "interruptive rhythms" as a way to reexamine simple acts.<ref>{{harvnb|de Bruyn 1993, What He Said}}; {{harvnb|Waugh|2006|p=316}}</ref> Having previously focused on films about the body, Hoolboom began dealing heavily with fragmentation, HIV/AIDS, and situations faced by those with the virus; ''Frank's Cock'' was his first venture directly addressing the AIDS issue.<ref>{{harvnb|McIntosh, Mike Hoolboom}}; {{harvnb|Lacey 1998, Portrait of the Filmmaker}}; {{harvnb|Waugh|2006|p=315}}</ref> | |||
], director, writer, and cinematographer of ''Frank's Cock'']] | |||
While living in ], Hoolboom joined the local ] (PWA) group.{{sfn|Hoolboom, Frank's Cock}} There he befriended a man (Joey in some sources, Alan in others) whose partner was dying of AIDS. Upon his friend's suggestion, Hoolboom began work on a script for "a real movie": one which portrayed an AIDS patient as full of love, not one that showed the patient's friends abandoning him. The friend was, however, unwilling to appear in the film.{{sfn|Hoolboom, Frank's Cock}}{{sfn|Bunbury 1994, Hollywood and Other Canadas}} In writing the script Hoolboom tried to keep elements of humour; he later said that the humour was necessary as the source had insisted "most of our relationship was incredibly joyous and happy and a good time".{{sfn|Bunbury 1994, Hollywood and Other Canadas}} | |||
], creator of ''Frank's Cock'']] | |||
After receiving a commission to make a three-minute film for the Vancouver-based cooperative Cineworks, Hoolboom began working on realising the script with a low budget and limited ] from the ]; he was one of seven artists commissioned to "spark local production" with short films on ], which were ultimately included in the omnibus ''Breaking Up''.{{sfn|Bunbury 1994, Hollywood and Other Canadas}}{{sfn|Cineworks, Breaking Up}} Rennie – at that time a relative unknown – agreed to deliver the monologue. Hoolboom was pleased with the results, writing that Rennie presented the monologue as if "he'd been living this story all along."{{sfn|Hoolboom, Frank's Cock}}{{sfn|Cole 2003/2004, From Frank's Cock}} The majority of the technical work, including direction, cinematography, and editing, was handled by Hoolboom; Alex Mackenzie, working for Cineworks, produced the film.{{sfn|Hoolboom, Credits}}{{sfn|Cineworks, Omnibus}} | |||
While living in ], Hoolboom joined the local ] (PWA) group.{{sfn|Hoolboom, Frank's Cock}} There he befriended a man (Joey in some sources, Alan in others) whose partner was dying of AIDS. Upon his friend's suggestion, Hoolboom began work on a script for "a real movie": one which portrayed an AIDS patient as full of love, not one that showed the patient's friends abandoning him. The friend was, however, unwilling to appear in the film.<ref>{{harvnb|Bunbury 1994, Hollywood and Other Canadas}}; {{harvnb|Hoolboom, Frank's Cock}}</ref> In writing the script Hoolboom tried to keep elements of humour; he later said that the humour was necessary as the source had insisted "most of our relationship was incredibly joyous and happy and a good time".{{sfn|Bunbury 1994, Hollywood and Other Canadas}} | |||
Part of the terms of his grant were that Hoolboom was allowed a limited number of ] (one{{sfn|Bunbury 1994, Hollywood and Other Canadas}} or three{{sfn|Cineworks, Breaking Up}}). After pondering how to complete the film under such terms, Hoolboom chose to complete the film without any edits. He recorded previously edited footage, some appropriated from various sources, through a hole in a piece of cardboard, producing a single quadrant; he repeated this process three times, using the same film, which resulted in four quadrants with four different images.{{sfn|Bunbury 1994, Hollywood and Other Canadas}} Production was completed by early 1993.{{sfn|de Bruyn 1993, What He Said}} In screenings ''Frank's Cock'' was later marketed as an "extremely explicit" ].{{sfn|Waugh|2006|p=316}} | |||
After receiving a commission to make a short film for the Vancouver-based cooperative Cineworks, Hoolboom began working on realising the script with a low budget and limited amount of ] from the ]; he was one of seven artists commissioned to "spark local production" with short films on ], which were ultimately included in the omnibus ''Breaking Up''.<ref>{{harvnb|Bunbury 1994, Hollywood and Other Canadas}}; {{harvnb|Cineworks, Breaking Up}}</ref> Rennie – at that time a relative unknown – agreed to deliver the monologue. Hoolboom was pleased with the results, writing that Rennie presented the monologue as if "he'd been living this story all along."<ref>{{harvnb|Hoolboom, Frank's Cock}}; {{harvnb|Cole 2003/2004, From Frank's Cock}}</ref> The majority of the technical work, including direction, cinematography, and editing, was handled by Hoolboom; Alex Mackenzie, working for Cineworks, produced the film.<ref>{{harvnb|Hoolboom, Credits}}; {{harvnb|Cineworks, Omnibus}}</ref> | |||
Although societal awareness of AIDS had developed at a slower pace in Canada than in the United States, films regarding the disease had appeared nearly concurrently: both the first Canadian documentary and the first American feature-length film on the subject, ]'s ''No Sad Songs'' and ]'s '']'' respectively, had appeared in 1985.{{sfn|Waugh|2006|p=280}}{{sfn|Hartl 2012, How Hollywood portrays AIDS}} However, the majority of the early gay pioneers with AIDS had died by the time Hoolboom made ''Frank's Cock''; as such, the film scholar Thomas Waugh considers Hoolboom a second-generation figurehead in AIDS activism and one of the earliest not coming from the gay culture community.{{sfn|Waugh|2006|p=316}} | |||
Part of the terms of his grant were that Hoolboom was allowed a limited number of ]s (one{{sfn|Bunbury 1994, Hollywood and Other Canadas}} or three{{sfn|Cineworks, Breaking Up}}). After pondering how to complete the film under such terms, Hoolboom chose to use no edits. He recorded previously edited footage, some appropriated from various sources, through a hole in a piece of cardboard, producing a single quadrant; he repeated this process three times, using the same film, which resulted in four quadrants with four different images.{{sfn|Bunbury 1994, Hollywood and Other Canadas}} Production was completed by early 1993,{{sfn|de Bruyn 1993, What He Said}} and in screenings ''Frank's Cock'' was marketed as an "extremely explicit" ].{{sfn|Waugh|2006|p=316}} | |||
Although societal awareness of AIDS had developed at a slower pace in Canada than in the United States, films regarding the disease had appeared nearly concurrently: both the first Canadian documentary and the first American feature-length film on the subject, ]'s ''No Sad Songs'' and ]'s '']'' respectively, were released in 1985.<ref>{{harvnb|Waugh|2006|p=280}}; {{harvnb|Hartl 2012, How Hollywood portrays AIDS}}</ref> However, the majority of the early gay artists with AIDS had died by the time Hoolboom made ''Frank's Cock''; as such, the film scholar Thomas Waugh considers Hoolboom a second-generation figurehead in AIDS activism and one of the earliest not coming from the gay community.{{sfn|Waugh|2006|p=316}} | |||
==Style== | ==Style== | ||
] | |||
''Frank's Cock'' divides the screen into quadrants, with the majority of the film focusing on the upper-right corner of the screen. In this panel, Rennie's character gives a monologue, which is sometimes illustrated by images in other panels: the lower-right panel flashes scenes of hardcore ], the upper-left shows scenes representing ], while the lower-left flashes excerpts from popular art.{{sfn|Cole 2003/2004, From Frank's Cock}} Aside from the original footage of Rennie, the short appropriated clips from the '']'' episode "]", the gay film ''The Best of Blondes'', and the ] for ]'s 1992 song "]".{{sfn|TIFF, Frank's Cock}}{{sfn|Viper|1995|p=35}} The effect was later reused in Hoolboom's 1997 short ''Positiv''.{{sfn|Varga|2001|p=87}} | |||
] | |||
Janis Cole, writing for ''POV'' magazine, describes the split-screen effect as supporting the text while "creating an optical treatment purposefully grounded in both dream and reality", as elements show out of sync.{{sfn|Cole 2003/2004, From Frank's Cock}} Jeff Rush and Cynthia Baughman, writing in the '']'', describe the film as showing that "text can reverse the traditional balance of words = abstractions/images = the concrete" through the creation of vivid, perhaps disturbing, word pictures which serve as tangible images contrasted with the faint abstractions which are the actual images.{{sfn|Rush and Baughman 1997, Introduction}} Jack Rusholme, prefacing a retrospective of Hoolboom's works by Experimenta Media Arts, writes that the split-screen evokes the effects of AIDS, in which "the body broken into dispersed vantages", while the narration serves to "bind with words what this disease will render lifeless and inert".{{sfn|Rusholme 1994, How to Die}} In a 1994 interview, Hoolboom stated that his intent was to represent the "fragmentation of the body" experienced by AIDS sufferers.{{sfn|Bunbury 1994, Hollywood and Other Canadas}} | |||
''Frank's Cock'' divides the screen into quadrants, with the majority of the film focusing on the upper-right corner of the screen. In this panel, Rennie's character gives a monologue, which is sometimes illustrated by images in other panels: the lower-right panel flashes scenes of hardcore ], the upper-left shows scenes representing ], while the lower-left flashes excerpts from popular art.{{sfn|Cole 2003/2004, From Frank's Cock}} Aside from the original footage of Rennie, the short appropriated clips from the '']'' episode "]", the gay pornographic film ''The Best of Blondes'', and the ] for ]'s 1992 song "]".<ref>{{harvnb|TIFF, Frank's Cock}}; {{harvnb|Viper|1995|p=35}}</ref> The effect was later reused in Hoolboom's 1997 short ''Positiv''.{{sfn|Varga|2001|p=87}} | |||
Janis Cole, writing for '']'', described the split-screen effect as supporting the text while "creating an optical treatment purposefully grounded in both dream and reality", as elements show out of sync.{{sfn|Cole 2003/2004, From Frank's Cock}} Jeff Rush and Cynthia Baughman, writing in the '']'', described the film as showing that "text can reverse the traditional balance of words = abstractions/images = the concrete" through the creation of vivid, perhaps disturbing, word pictures which serve as tangible images contrasted with the faint abstractions which are the actual images.{{sfn|Rush & Baughman 1997, Introduction}} Jack Rusholme, prefacing a retrospective of Hoolboom's works by Experimenta Media Arts, wrote that the split-screen evokes the effects of AIDS, in which "the body broken into dispersed vantages", while the narration serves to "bind with words what this disease will render lifeless and inert".{{sfn|Rusholme 1994, How to Die}} In a 1994 interview, Hoolboom stated that his intent was to represent the "fragmentation of the body" experienced by AIDS sufferers.{{sfn|Bunbury 1994, Hollywood and Other Canadas}} | |||
==Reception== | ==Reception== | ||
''Frank's Cock'' has received warm critical reviews, both in Canada and abroad. Cole calls it an "extraordinary experimental documentary" that is "as bold as the title implies" and a strong argument for the widespread dissemination of short films.{{sfn|Cole 2003/2004, From Frank's Cock}} Waugh places ''Frank's Cock'' as one of a "great AIDS triptych", together with Hoolboom's later works '']'' (1996) and ''Positiv''.{{sfn|Waugh|2002|p=417}} The Canadian film scholar Darell Varga writes that the film is an "emotionally riveting" eulogy to the loss of love.{{sfn|Varga|2001|p=86}}<!--Karen Tisch, writing in ''Take One'', found that the short built its emotional power "delicately but steadily"; she suggested that its ] (TIFF) win was well-deserved.{{sfn|Tisch|1995|p=47}}--> | |||
''Frank's Cock'' has received warm critical reviews, both in Canada and abroad. Cole called it an "extraordinary experimental documentary" that is "as bold as the title implies" and a strong argument for the widespread dissemination of short films.{{sfn|Cole 2003/2004, From Frank's Cock}} Waugh placed ''Frank's Cock'' as one of a "great AIDS triptych", together with Hoolboom's later works '']'' (1996) and ''Positiv''.{{sfn|Waugh|2002|p=417}} The Canadian film scholar Darell Varga wrote that the film is an "emotionally riveting" eulogy to the loss of love.{{sfn|Varga|2001|p=86}} Karen Tisch, writing in ''Take One'', found that the short built its emotional power "delicately but steadily"; she suggested that its ] (TIFF) win was well-deserved.{{sfn|Tisch|1995|p=47}} | |||
Reviewing after a preview for the ]n independent film magazine ''In the Picture'', James Twentyman wrote that the film was "relatively straightforward" but strong and provocative, emphasising the "soul-bearing" nature of the monologue.{{sfn|Twentyman|1994|p=18}} Rush and Baughman found that the short took the narrative voice beyond what is mainstream, demonstrating "the power of word and image",{{sfn|Rush and Baughman 1997, Introduction}} while Rusholme describes ''Frank's Cock'' as Hoolboom's "most explicit AIDS narrative".{{sfn|Rusholme 1994, How to Die}} The Swiss film festival Viper touts the short as expressing, humour, and sexual obsession in the face of a plague.{{sfn|Viper|1995|p=35}} | |||
Reviewing for the ]n independent film magazine ''In the Picture'', James Twentyman wrote that the film was "relatively straightforward" but strong and provocative, emphasising the "soul-baring" nature of the monologue.{{sfn|Twentyman|1994|p=18}} Rush and Baughman found that the short took the narrative voice beyond what is mainstream, demonstrating "the power of word and image",{{sfn|Rush & Baughman 1997, Introduction}} while Rusholme described ''Frank's Cock'' as Hoolboom's "most explicit AIDS narrative".{{sfn|Rusholme 1994, How to Die}} The Swiss film festival Viper touted the short as expressing humour and ] in the face of a plague.{{sfn|Viper|1995|p=35}} | |||
Hoolboom has stated that he felt the film was accessible to both gay or straight audiences, which |
Hoolboom has stated that he felt the film was accessible to both gay or straight audiences, which should "open them up to differences of form and why would make something formally different."{{sfn|Bunbury 1994, Hollywood and Other Canadas}} Waugh suggested that this was successful, as in his experience audiences often cried at screenings.{{sfn|Waugh|2002|p=417}} | ||
==Legacy== | ==Legacy== | ||
''Frank's Cock'' won several awards at domestic and international film festivals. At the |
''Frank's Cock'' won several awards at domestic and international film festivals. At the ] it won the ], given for the best Canadian short film. The jury cited ''Frank's Cock'' for its "evocative images, ... impeccable writing and '']'', ... moving depiction of the universal human experiences of love and loss in the age of AIDS, and especially for its success in shaking our preconceptions".{{sfn|Harris 1994, Festival Prize}} The selection included ]2,500 in prize money and a further C$2,500 worth of ]. When accepting the award, Hoolboom quipped "''Frank's Cock'' has never seemed so large";{{sfn|Everett-Green 1995, A Pauper Prince}} Waugh, however, suggests that the title "caused more embarrassment than mirth" when it was read during the citation.{{sfn|Waugh|2006|p=331}} Special citations were also read for Andrew Munger's ''Make Some Noise'' and ]'s ''Technilogic Ordering''.{{sfn|Harris 1994, Festival Prize}} | ||
experiences of love and loss in the age of AIDS, and especially for its success in shaking our preconceptions".{{sfn|Harris 1994, Festival Prize}} The selection included ]2,500 in prize money and a further C$2,500 worth of ]. When accepting the award, Hoolboom quipped "''Frank's Cock'' has never seemed so large".{{sfn|Everett-Green 1995, A Pauper Prince}} Waugh suggests that the title "caused more embarrassment than mirth" when it was read during the citation.{{sfn|Waugh|2006|p=331}} Special citations were also read for Andrew Munger's ''Make Some Noise'' and ]'s ''Technilogic Ordering''.{{sfn|Harris 1994, Festival Prize}} | |||
That year the film won a Golden Leopard at the ] in ], Switzerland.{{sfn|TIFF, Frank's Cock}} At the ] in ], ''Frank's Cock'' won Best Dramatic Film.{{sfn| |
That year the film won a Golden Leopard at the ] in ], Switzerland.{{sfn|TIFF, Frank's Cock}} At the ] in ], ''Frank's Cock'' won Best Dramatic Film.{{sfn|AAFF, Frank's Cock}} The Canadian Filmmakers' Distribution Centre, which has distribution rights for the film, notes further awards at the Interfilm Festival in ] and Second Prize Experimental at the ] in ] (both 1995),{{sfn|CFMDC, Frank's Cock}} while Hoolboom records ''Frank's Cock'' as receiving an honourable mention at the ]'s Queer Film Fest (1994).{{sfn|Hoolboom, Frank's Cock}} | ||
The script for ''Frank's Cock'' has been published several times, including in the script anthology ''By the Skin of Their Tongues''{{sfn|Reinke|Henricks|1997|p=67}} and in the ''Journal of Film and Video'' (both 1997).{{sfn|Hoolboom 1997, Three Scripts}} The film |
The script for ''Frank's Cock'' has been published several times, including in the script anthology ''By the Skin of Their Tongues''{{sfn|Reinke|Henricks|1997|p=67}} and in the ''Journal of Film and Video'' (both 1997).{{sfn|Hoolboom 1997, Three Scripts}} The film influenced Adam Garnet Jones' ''Secret Weapons'' (2008), commissioned by the Canadian Filmmakers Distribution Centre in celebration of its fortieth anniversary. However, unlike ''Frank's Cock'', ''Secret Weapons'' focused on an ] identity within ].{{sfn|Kashmere 2008, Regeneration}} | ||
After his success at the TIFF, Hoolboom directed numerous further films, many showing a "fascination with its impermanence"; several, including ''Letters |
After his success at the TIFF, Hoolboom directed numerous further films, many showing a "fascination with its impermanence"; several, including ''Letters from Home'', dealt explicitly with AIDS.{{sfn|McIntosh, Mike Hoolboom}} Rennie, who had also received critical acclaim for his supporting role in ]'s '']'' (1994), later became known for playing villains in Hollywood films.{{sfn|Czach, Callum Keith Rennie}} | ||
==See also== | |||
*] | |||
*] | |||
*] | |||
*] | |||
==Notes== | ==Notes== | ||
{{refs|30em}} | |||
{{reflist|30em}} | |||
==References== | ==References== | ||
{{refbegin|40em}} | {{refbegin|40em}} | ||
*{{cite web | *{{cite web | ||
|url=http://www.cineworks.ca/catalogue/omnibus_item/breaking_up/ | |url = http://www.cineworks.ca/catalogue/omnibus_item/breaking_up/ | ||
|title=Breaking Up | |title = Breaking Up | ||
|publisher=Cineworks | |publisher = Cineworks | ||
|archive-date = 4 March 2016 | |||
|archivedate=26 October 2012 | |||
| |
|access-date = 26 October 2012 | ||
|archive-url = https://web.archive.org/web/20160304090925/http://www.cineworks.ca/catalogue/omnibus_item/breaking_up/ | |||
|archiveurl=http://www.webcitation.org/6Bh9fIwwX | |||
|ref={{sfnRef|Cineworks, Breaking Up}} | |ref = {{sfnRef|Cineworks, Breaking Up}} | ||
|url-status = dead | |||
}} | }} | ||
*{{cite journal | *{{cite journal | ||
|url=http://mikehoolboom.com/r2/section_item.php?artist=226 | |url = http://mikehoolboom.com/r2/section_item.php?artist=226 | ||
|title=What He Said: An Interview with Mike Hoolboom | |title = What He Said: An Interview with Mike Hoolboom | ||
|first=Dirk | |first = Dirk | ||
|last=de Bruyn | |last = de Bruyn | ||
| |
|journal = Workprint | ||
| |
|date = Spring 1993 | ||
|page = 5 | |||
|month=Spring | |||
|location = Boston | |||
|page=5 | |||
|archive-date = 29 January 2013 | |||
|location=Boston | |||
| |
|access-date = 25 October 2012 | ||
|archive-url = https://archive.today/20130129024425/http://mikehoolboom.com/r2/section_item.php?artist=226 | |||
|accessdate=25 October 2012 | |||
|ref = {{sfnRef|de Bruyn 1993, What He Said}} | |||
|archiveurl=http://www.webcitation.org/6BfuW0MPk | |||
|url-status = dead | |||
|ref={{sfnRef|de Bruyn 1993, What He Said}} | |||
}}<!--bibliographic information taken from North of Everything page 428--> | }}<!--bibliographic information taken from North of Everything page 428--> | ||
*{{cite news | *{{cite news | ||
|last1=Bunbury | |last1=Bunbury | ||
|first1=Stephanie | |first1=Stephanie | ||
|url=http:// |
|url=http://mikehoolboom.com/?p=5554 | ||
|date=25 November 1994 | |date=25 November 1994 | ||
|title=Hollywood and Other Canadas of the Soul | |title=Hollywood and Other Canadas of the Soul | ||
|work=The Age | |work=The Age | ||
|location=Melbourne | |location=Melbourne | ||
|archive-url=https://web.archive.org/web/20131202235054/http://mikehoolboom.com/?p=5554 | |||
|page=19 | |||
|archive-date=2 December 2013 | |||
|ref={{sfnRef|Bunbury 1994, Hollywood and Other Canadas}} | |||
|page=19 | |||
}} {{subscription needed}} | |||
|ref={{sfnRef|Bunbury 1994, Hollywood and Other Canadas}} | |||
|url-status=dead | |||
}} | |||
*{{cite news | *{{cite news | ||
|last=Cole | |last = Cole | ||
|first=Janis | |first = Janis | ||
|url=http://mikehoolboom.com/r2/section_item.php?artist=237 | |url = http://mikehoolboom.com/r2/section_item.php?artist=237 | ||
|title=From Frank's Cock to Imitations of Life: Ten Years With Mike Hoolboom | |title = From Frank's Cock to Imitations of Life: Ten Years With Mike Hoolboom | ||
|work=Point of View | |work = Point of View | ||
|date=Winter |
|date = Winter 2003–2004 | ||
|issue=54 | |issue = 54 | ||
|pages= |
|pages = 22–25 | ||
|publisher=Documentary Organization of Canada | |publisher = Documentary Organization of Canada | ||
|archive-date = 4 January 2013 | |||
|archivedate=16 August 2012 | |||
| |
|access-date = 16 August 2012 | ||
|archive-url = https://archive.today/20130104011443/http://mikehoolboom.com/r2/section_item.php?artist=237 | |||
|archiveurl=http://www.webcitation.org/69x0yjsWf | |||
|ref={{sfnRef|Cole 2003/2004, From Frank's Cock}} | |ref = {{sfnRef|Cole 2003/2004, From Frank's Cock}} | ||
|url-status = dead | |||
}} | }} | ||
*{{cite web | *{{cite web | ||
|last=Czach | |last = Czach | ||
|first=Liz | |first = Liz | ||
|url=http://tiff.net/CANADIANFILMENCYCLOPEDIA/content/bios/callum-keith-rennie | |url = http://tiff.net/CANADIANFILMENCYCLOPEDIA/content/bios/callum-keith-rennie | ||
|title=Callum Keith Rennie | |title = Callum Keith Rennie | ||
|publisher=Toronto International Film Festival | |publisher = Toronto International Film Festival | ||
|archive-date = 22 February 2013 | |||
|archivedate=28 October 2012 | |||
| |
|access-date = 28 October 2012 | ||
|archive-url = https://archive.today/20130222102646/http://tiff.net/CANADIANFILMENCYCLOPEDIA/content/bios/callum-keith-rennie | |||
|archiveurl=http://www.webcitation.org/6Bjozz2wH | |||
|ref={{sfnRef|Czach, Callum Keith Rennie}} | |ref = {{sfnRef|Czach, Callum Keith Rennie}} | ||
|url-status = dead | |||
}} | }} | ||
*{{cite news | *{{cite news | ||
Line 139: | Line 159: | ||
|first=Robert | |first=Robert | ||
|title=A Pauper Prince of Underground Film | |title=A Pauper Prince of Underground Film | ||
|work=Globe and Mail | |work=The Globe and Mail | ||
|date=28 April 1995 | |date=28 April 1995 | ||
|page=C3 | |page=C3 | ||
Line 145: | Line 165: | ||
}} | }} | ||
*{{cite web | *{{cite web | ||
|url=http://aafilmfest.org/50/films/franks_cock/ | |url = http://aafilmfest.org/50/films/franks_cock/ | ||
|title=Frank's Cock | |title = Frank's Cock | ||
|publisher=Ann Arbor Film Festival | |publisher = Ann Arbor Film Festival | ||
| |
|archive-date = 28 December 2012 | ||
| |
|access-date = 17 August 2012 | ||
|archive-url = https://web.archive.org/web/20121228050058/http://aafilmfest.org/50/films/franks_cock/ | |||
|archiveurl=http://www.webcitation.org/69z8ppF4X | |||
|ref={{sfnRef| |
|ref = {{sfnRef|AAFF, Frank's Cock}} | ||
|url-status = dead | |||
}} | }} | ||
*{{cite web | *{{cite web | ||
|url=http://www.cfmdc.org/node/589 | |url = http://www.cfmdc.org/node/589 | ||
|title=Frank's Cock | |title = Frank's Cock | ||
|publisher=Canadian Filmmakers' Distribution Centre | |publisher = Canadian Filmmakers' Distribution Centre | ||
|archive-date = 14 April 2013 | |||
|archivedate=24 October 2012 | |||
| |
|access-date = 24 October 2012 | ||
| |
|archive-url = https://archive.today/20130414111321/http://www.cfmdc.org/node/589 | ||
|ref={{sfnRef|CFMDC, Frank's Cock}} | |ref = {{sfnRef|CFMDC, Frank's Cock}} | ||
|url-status = dead | |||
}} | }} | ||
*{{cite |
*{{cite encyclopedia | ||
|url=http://tiff.net/CANADIANFILMENCYCLOPEDIA/content/films/franks-cock | |url = http://tiff.net/CANADIANFILMENCYCLOPEDIA/content/films/franks-cock | ||
|title=Frank's Cock | |title = Frank's Cock | ||
| |
|encyclopedia = Canadian Film Encyclopedia | ||
|publisher=Toronto International Film Festival | |publisher = Toronto International Film Festival | ||
|archive-date = 22 February 2013 | |||
|archivedate=17 August 2012 | |||
| |
|access-date = 17 August 2012 | ||
|archive-url = https://archive.today/20130222144831/http://tiff.net/CANADIANFILMENCYCLOPEDIA/content/films/franks-cock | |||
|archiveurl=http://www.webcitation.org/69z7IQMnI | |||
|ref={{sfnRef|TIFF, Frank's Cock}} | |ref = {{sfnRef|TIFF, Frank's Cock}} | ||
|url-status = dead | |||
}} | }} | ||
*{{cite news | *{{cite news | ||
Line 176: | Line 199: | ||
|first=Christopher | |first=Christopher | ||
|title=Festival Prize Spells Double Happiness | |title=Festival Prize Spells Double Happiness | ||
|work=Globe and Mail | |work=The Globe and Mail | ||
|date=19 September 1994 | |date=19 September 1994 | ||
|page=C1 | |page=C1 | ||
Line 182: | Line 205: | ||
}} | }} | ||
*{{cite web | *{{cite web | ||
|last=Hartl | |last = Hartl | ||
|first=John | |first = John | ||
|url = https://www.nbcnews.com/id/wbna12856549 | |||
|url=http://today.msnbc.msn.com/id/12856549/ns/today-entertainment/t/how-hollywood-portrays-aids/#.UIkRIIYxSP0 | |||
|title=How Hollywood portrays AIDS | |title = How Hollywood portrays AIDS | ||
|publisher=MSNBC | |publisher = MSNBC | ||
| |
|year = 2012 | ||
| |
|archive-date = 21 October 2012 | ||
| |
|access-date = 25 October 2012 | ||
|archive-url = https://web.archive.org/web/20121021212751/http://today.msnbc.msn.com/id/12856549/ns/today-entertainment/t/how-hollywood-portrays-aids/ | |||
|archiveurl=http://www.webcitation.org/6Bfw5tji5 | |||
|ref={{sfnRef|Hartl 2012, How Hollywood portrays AIDS}} | |ref = {{sfnRef|Hartl 2012, How Hollywood portrays AIDS}} | ||
|url-status = live | |||
}} | }} | ||
*{{cite web | *{{cite web | ||
|last=Hoolboom | |last = Hoolboom | ||
|first=Mike | |first = Mike | ||
|url=http://www.mikehoolboom.com/r2/section_item.php?artist=269&content=374 | |url = http://www.mikehoolboom.com/r2/section_item.php?artist=269&content=374 | ||
|title=Credits | |title = Credits | ||
|work = mikehoolboom.com | |||
|work=Official Website | |||
|archive-date = 29 January 2013 | |||
|archivedate=17 August 2012 | |||
| |
|access-date = 17 August 2012 | ||
|archive-url = https://archive.today/20130129064550/http://www.mikehoolboom.com/r2/section_item.php?artist=269&content=374 | |||
|archiveurl=http://www.webcitation.org/69z6HNK7K | |||
|ref={{sfnRef|Hoolboom, Credits}} | |ref = {{sfnRef|Hoolboom, Credits}} | ||
|url-status = dead | |||
}} | }} | ||
*{{cite web | *{{cite web | ||
|last=Hoolboom | |last = Hoolboom | ||
|first=Mike | |first = Mike | ||
|url=http://www.mikehoolboom.com/r2/section_item.php?artist=269&content=373 | |url = http://www.mikehoolboom.com/r2/section_item.php?artist=269&content=373 | ||
|title=Frank's Cock description | |title = Frank's Cock description | ||
|work = mikehoolboom.com | |||
|work=Official Website | |||
|archive-date = 26 May 2024 | |||
|archivedate=17 August 2012 | |||
| |
|access-date = 17 August 2012 | ||
| |
|archive-url = https://archive.today/20240526041957/https://www.webcitation.org/69z4J2LRA?url=http://www.mikehoolboom.com/r2/section_item.php%3Fartist=269 | ||
|ref={{sfnRef|Hoolboom, Frank's Cock}} | |ref = {{sfnRef|Hoolboom, Frank's Cock}} | ||
|url-status = dead | |||
}} | }} | ||
*{{cite news | *{{cite news | ||
|last1=Hoolboom | |last1=Hoolboom | ||
|first1=Mike | |first1=Mike | ||
|url= |
|url=https://www.questia.com/read/1P3-32487207 | ||
|date=1 October 1997 | |date=1 October 1997 | ||
|title=Three Scripts | |title=Three Scripts | ||
Line 224: | Line 250: | ||
|publisher=University Film and Video Association | |publisher=University Film and Video Association | ||
|ref={{sfnRef|Hoolboom 1997, Three Scripts}} | |ref={{sfnRef|Hoolboom 1997, Three Scripts}} | ||
}} {{subscription |
}} {{subscription required}} | ||
*{{cite journal | *{{cite journal | ||
| |
|year = 1995 | ||
| |
|title = Iris and Frank's Cock | ||
| |
|journal = International Programme | ||
| |
|page = 35 | ||
| |
|location = Basel | ||
| |
|publisher = Viper Film Festival | ||
|format = programme | |||
| language = | |||
|access-date = 26 October 2012 | |||
| format =programme | |||
|url = http://www.mikehoolboom.com/r2/docs/1066.jpg | |||
| accessdate =26 October 2012 | |||
| |
|archive-url = https://archive.today/20130128171859/http://www.mikehoolboom.com/r2/docs/1066.jpg | ||
|archive-date = 28 January 2013 | |||
| archiveurl =http://www.webcitation.org/6BhAZGlMS | |||
|ref = {{sfnRef|Viper|1995}} | |||
| archivedate =26 October 2012 | |||
|url-status = dead | |||
| ref ={{sfnRef|Viper|1995}} | |||
}} | }} | ||
*{{cite news | *{{cite news | ||
Line 244: | Line 270: | ||
|first=Liam | |first=Liam | ||
|title=Portrait of the Filmmaker as a Busy Young Man | |title=Portrait of the Filmmaker as a Busy Young Man | ||
|work=Globe and Mail | |work=The Globe and Mail | ||
|date=10 October 1998 | |date=10 October 1998 | ||
|page=C5 | |page=C5 | ||
Line 250: | Line 276: | ||
}} | }} | ||
*{{cite web | *{{cite web | ||
|url=http://www.cineworks.ca/catalogue/omnibus/ | |url = http://www.cineworks.ca/catalogue/omnibus/ | ||
|title=Omnibus | |title = Omnibus | ||
|publisher=Cineworks | |publisher = Cineworks | ||
| |
|archive-date = 14 October 2012 | ||
| |
|access-date = 26 October 2012 | ||
|archive-url = https://web.archive.org/web/20121014034052/http://www.cineworks.ca/catalogue/omnibus/ | |||
|archiveurl=http://www.webcitation.org/6Bh9XFzWL | |||
|ref={{sfnRef|Cineworks, Omnibus}} | |ref = {{sfnRef|Cineworks, Omnibus}} | ||
|url-status = dead | |||
}} | }} | ||
*{{cite web | *{{cite web | ||
|url=http://brettkashmere.com/Regeneration.pdf | |url = http://brettkashmere.com/Regeneration.pdf | ||
|title=Regeneration | |title = Regeneration | ||
|publisher=Canadian Filmmakers' Distribution Centre | |publisher = Canadian Filmmakers' Distribution Centre | ||
| |
|archive-date = 24 August 2012 | ||
| |
|access-date = 24 August 2012 | ||
| |
|archive-url = https://www.webcitation.org/6A8z1kUiE?url=http://brettkashmere.com/Regeneration.pdf | ||
|last=Kashmere | |last = Kashmere | ||
|first=Brett | |first = Brett | ||
| |
|date = May 2008 | ||
|ref={{sfnRef|Kashmere 2008, Regeneration}} | |ref = {{sfnRef|Kashmere 2008, Regeneration}} | ||
|url-status = dead | |||
}} | }} | ||
*{{cite |
*{{cite encyclopedia | ||
|url=http://tiff.net/CANADIANFILMENCYCLOPEDIA/content/bios/mike-hoolboom | |url = http://tiff.net/CANADIANFILMENCYCLOPEDIA/content/bios/mike-hoolboom | ||
|title=Mike Hoolboom | |title = Mike Hoolboom | ||
|last=McIntosh | |last = McIntosh | ||
|first=Andrew | |first = Andrew | ||
| |
|encyclopedia = Canadian Film Encyclopedia | ||
|publisher=Toronto International Film Festival | |publisher = Toronto International Film Festival | ||
|archive-date = 22 February 2013 | |||
|archivedate=16 August 2012 | |||
| |
|access-date = 16 August 2012 | ||
|archive-url = https://archive.today/20130222074908/http://tiff.net/CANADIANFILMENCYCLOPEDIA/content/bios/mike-hoolboom | |||
|archiveurl=http://www.webcitation.org/69ww7i8mH | |||
|ref={{sfnRef| |
|ref = {{sfnRef|McIntosh, Mike Hoolboom}} | ||
|url-status = dead | |||
}} | }} | ||
*{{cite book | *{{cite book | ||
Line 288: | Line 317: | ||
|editor2-last=Henricks | |editor2-last=Henricks | ||
|editor2-first=Nelson | |editor2-first=Nelson | ||
|ref=harv | |||
|year=1997 | |year=1997 | ||
|publisher=YYZ Books | |publisher=YYZ Books | ||
Line 299: | Line 327: | ||
|last2=Baughman | |last2=Baughman | ||
|first2=Cynthia | |first2=Cynthia | ||
|url= |
|url=https://www.questia.com/read/1P3-32487154 | ||
|date=1 October 1997 | |date=1 October 1997 | ||
|title=Introduction | |title=Introduction | ||
|work=Journal of Film and Video | |work=Journal of Film and Video | ||
|publisher=University Film and Video Association | |publisher=University Film and Video Association | ||
|ref={{sfnRef|Rush |
|ref={{sfnRef|Rush & Baughman 1997, Introduction}} | ||
}} {{subscription |
}} {{subscription required}} | ||
*{{cite news | *{{cite news | ||
|last1=Rusholme | |last1 = Rusholme | ||
|first1=Jack | |first1 = Jack | ||
|url=http://www.experimenta.org/mesh/mesh04/4rus.html | |url = http://www.experimenta.org/mesh/mesh04/4rus.html | ||
| |
|year = 1994 | ||
|title=How to Die: The Films of Mike Hoolboom | |title = How to Die: The Films of Mike Hoolboom | ||
|work=Experimenta.org | |work = Experimenta.org | ||
|publisher=Experimenta Media Arts | |publisher = Experimenta Media Arts | ||
|archive-date = 24 July 2008 | |||
|archivedate=20 August 2012 | |||
|archive-url = https://web.archive.org/web/20080724101025/http://experimenta.org/mesh/mesh04/4rus.html | |||
|archiveurl=http://www.webcitation.org/6A3j9idJ3 | |||
|ref={{sfnRef|Rusholme 1994, How to Die}} | |ref = {{sfnRef|Rusholme 1994, How to Die}} | ||
|url-status = dead | |||
}}<!-- | |||
}} | |||
*{{Cite journal | *{{Cite journal | ||
|last=Tisch | |last=Tisch | ||
|first=Karen | |first=Karen | ||
|title= | |title=(untitled) | ||
| |
|journal=Take One | ||
|location=Toronto | |location=Toronto | ||
| |
|date=Winter 1995 | ||
|year=1995 | |||
|ref=harv | |||
|page=47 | |page=47 | ||
}} |
}} | ||
*{{Cite journal | *{{Cite journal | ||
|last=Twentyman | |last=Twentyman | ||
|first=James | |first=James | ||
|title=Preview: Mike Hoolboom's Shiteater and Frank's Cock | |title=Preview: Mike Hoolboom's Shiteater and Frank's Cock | ||
| |
|journal=In the Picture | ||
|location=Fremantle | |location=Fremantle | ||
| |
|date=October 1994 | ||
|year=1994 | |||
|accessdate=26 October 2012 | |||
|ref=harv | |||
|page=18 | |page=18 | ||
}} | }} | ||
*{{Cite journal | *{{Cite journal | ||
|url=http://www.filmstudies.ca/journal/pdf/cj-film-studies102_Varga_panic.pdf | |url = http://www.filmstudies.ca/journal/pdf/cj-film-studies102_Varga_panic.pdf | ||
|last=Varga | |last = Varga | ||
|first=Darell | |first = Darell | ||
|title=''Panic Bodies'' and the Performance of Space | |title = ''Panic Bodies'' and the Performance of Space | ||
| |
|journal = Canadian Journal of Film Studies | ||
|issue=2 | |issue = 2 | ||
|volume=10 | |volume = 10 | ||
| |
|access-date = 17 August 2012 | ||
|archive-date = 4 March 2016 | |||
|archivedate=17 August 2012 | |||
|year=2001 | |year = 2001 | ||
|archive-url = https://web.archive.org/web/20160304070046/http://www.filmstudies.ca/journal/pdf/cj-film-studies102_Varga_panic.pdf | |||
|archiveurl=http://www.webcitation.org/69zCK5QaV | |||
|pages = 80–101 | |||
|ref=harv | |||
|doi = 10.3138/cjfs.10.2.80 | |||
|pages=80–101 | |||
|url-status = dead | |||
}} | }} | ||
*{{cite book | *{{cite book | ||
|contribution=Mike Hoolboom and the Second Generation of AIDS Films in Canada | |contribution=Mike Hoolboom and the Second Generation of AIDS Films in Canada | ||
|last=Waugh | |last=Waugh | ||
|url=https://archive.org/details/northofeverythin00bear | |||
|url=http://books.google.ca/books?id=iLNhHWfarosC | |||
|url-access=registration | |||
|first=Thomas | |first=Thomas | ||
|title=North of Everything : English-Canadian Cinema since 1980 | |title=North of Everything : English-Canadian Cinema since 1980 | ||
|pages=–429 | |||
|pages=416–429 | |||
|ref=harv | |||
|year=2002 | |year=2002 | ||
|publisher=University of Alberta Press | |publisher=University of Alberta Press | ||
Line 374: | Line 399: | ||
}} | }} | ||
*{{cite book | *{{cite book | ||
|url= |
|url=https://books.google.com/books?id=ogfPKJ-vjfkC | ||
|title=The Romance of Transgression in Canada: Queering Sexualities, Nations, Cinemas | |title=The Romance of Transgression in Canada: Queering Sexualities, Nations, Cinemas | ||
|isbn=978-0-7735-3069-0 | |isbn=978-0-7735-3069-0 | ||
Line 380: | Line 405: | ||
|first1=Thomas | |first1=Thomas | ||
|year=2006 | |year=2006 | ||
|ref=harv | |||
|location=Montreal | |location=Montreal | ||
|publisher=McGill-Queen's University Press | |publisher=McGill-Queen's University Press | ||
}} | }} | ||
{{refend}} | {{refend}} | ||
==Further reading== | |||
*{{cite book|url=https://books.google.com/books?id=5l2y6SroU1IC |title=Queerly Canadian: An Introductory Reader in Sexuality Studies|isbn=978-1-55130-400-7|publisher=Canadian Scholars' Press | location=Toronto |last1=Fitzgerald|first1=Maureen|last2=Rayter|first2=Scott|year=2012}} | |||
==External links== | ==External links== | ||
* at Mike Hoolboom's official website | |||
*{{IMDb title|0106957|Frank's Cock}} | *{{IMDb title|0106957|Frank's Cock}} | ||
* at Mike Hoolboom's official website | |||
{{Mike Hoolboom}} | |||
{{Use dmy dates|date=October 2012}} | |||
{{ |
{{TIFF Best Canadian Short Film}} | ||
{{Portal bar|1990s|Canada|Film|LGBTQ}} | |||
{{featured article}} | |||
] | ] | ||
] | |||
] | |||
] | |||
] | |||
] | ] | ||
] | ] | ||
] | ] | ||
] | |||
] | |||
] | |||
] | |||
] |
Latest revision as of 00:49, 22 November 2024
1993 short film by Mike Hoolboom
Frank's Cock | |
---|---|
Directed by | Mike Hoolboom |
Written by | Mike Hoolboom |
Produced by | Alex Mackenzie |
Starring | Callum Keith Rennie |
Narrated by | Callum Keith Rennie |
Edited by | Mike Hoolboom |
Release date |
|
Running time | 8 minutes |
Country | Canada |
Language | English |
Frank's Cock is a 1993 Canadian short film written and directed by Mike Hoolboom. The eight-minute production stars Callum Keith Rennie as an unnamed narrator who discusses his relationship with his partner, Frank. The two met while the narrator was a teenager and spent nearly ten years together. Frank has since been diagnosed with AIDS, and the narrator fears his death. The story was based on the experience of one of Hoolboom's friends at People With AIDS, which Hoolboom adapted after receiving a commission to create a short film about breaking up.
Shot on a low budget, the work is shown in a split-screen format with interspersed scenes from popular culture, gay pornography, and human embryo formation; this format is meant to symbolise the "fragmentation of the body" experienced by AIDS sufferers. Produced by Alex Mackenzie, Frank's Cock was critically acclaimed and won several awards, including the NFB–John Spotton Award for best Canadian short film at the 1994 Toronto International Film Festival. The script has been republished several times and has inspired a short on LGBTQ issues in Canada's native community.
Synopsis
An unnamed narrator (Callum Keith Rennie), who as a teenager intended to be the "Michael Jordan of sex" or "Wayne Gretzky with a hard-on", discusses how he met and fell in love with an older man named Frank. After the two met at a group sex session, they began an older brother–younger brother fantasy and moved in together. Frank has a voracious sexual appetite and, at times, invites the narrator for whole-day sex sessions. He is a tender lover, teaching his partner how to fly a box kite and cooking omelettes for him. The narrator is pleased with Frank's attentions and their sexual experimentation, although he is initially confused by Frank's insistence on listening to Peter Gzowski's Morningside during sex. As their ten-year anniversary approaches, Frank – having lost much weight and developed Kaposi's sarcomas – has been diagnosed with AIDS, leaving the narrator stunned; he concludes the narration with "I'm going to miss him. He was the best friend I ever had."
Production
The Canadian director Mike Hoolboom was diagnosed with HIV in 1988 or 1989, after going to donate blood. In a 1993 interview, he stated that he felt himself working harder after the diagnosis, finishing films at a more rapid rate because he was uncertain how long he would live. Hoolboom also became "fascinated with a body of parts spliced and spliced again", experimenting with "interruptive rhythms" as a way to reexamine simple acts. Having previously focused on films about the body, Hoolboom began dealing heavily with fragmentation, HIV/AIDS, and situations faced by those with the virus; Frank's Cock was his first venture directly addressing the AIDS issue.
While living in Vancouver, Hoolboom joined the local People With AIDS (PWA) group. There he befriended a man (Joey in some sources, Alan in others) whose partner was dying of AIDS. Upon his friend's suggestion, Hoolboom began work on a script for "a real movie": one which portrayed an AIDS patient as full of love, not one that showed the patient's friends abandoning him. The friend was, however, unwilling to appear in the film. In writing the script Hoolboom tried to keep elements of humour; he later said that the humour was necessary as the source had insisted "most of our relationship was incredibly joyous and happy and a good time".
After receiving a commission to make a short film for the Vancouver-based cooperative Cineworks, Hoolboom began working on realising the script with a low budget and limited amount of 16 mm film from the National Film Board of Canada; he was one of seven artists commissioned to "spark local production" with short films on breakup, which were ultimately included in the omnibus Breaking Up. Rennie – at that time a relative unknown – agreed to deliver the monologue. Hoolboom was pleased with the results, writing that Rennie presented the monologue as if "he'd been living this story all along." The majority of the technical work, including direction, cinematography, and editing, was handled by Hoolboom; Alex Mackenzie, working for Cineworks, produced the film.
Part of the terms of his grant were that Hoolboom was allowed a limited number of edits (one or three). After pondering how to complete the film under such terms, Hoolboom chose to use no edits. He recorded previously edited footage, some appropriated from various sources, through a hole in a piece of cardboard, producing a single quadrant; he repeated this process three times, using the same film, which resulted in four quadrants with four different images. Production was completed by early 1993, and in screenings Frank's Cock was marketed as an "extremely explicit" experimental film.
Although societal awareness of AIDS had developed at a slower pace in Canada than in the United States, films regarding the disease had appeared nearly concurrently: both the first Canadian documentary and the first American feature-length film on the subject, Nik Sheehan's No Sad Songs and John Erman's An Early Frost respectively, were released in 1985. However, the majority of the early gay artists with AIDS had died by the time Hoolboom made Frank's Cock; as such, the film scholar Thomas Waugh considers Hoolboom a second-generation figurehead in AIDS activism and one of the earliest not coming from the gay community.
Style
Frank's Cock divides the screen into quadrants, with the majority of the film focusing on the upper-right corner of the screen. In this panel, Rennie's character gives a monologue, which is sometimes illustrated by images in other panels: the lower-right panel flashes scenes of hardcore gay pornography, the upper-left shows scenes representing human embryo formation, while the lower-left flashes excerpts from popular art. Aside from the original footage of Rennie, the short appropriated clips from the Nova episode "The Miracle of Life", the gay pornographic film The Best of Blondes, and the music video for Madonna's 1992 song "Erotica". The effect was later reused in Hoolboom's 1997 short Positiv.
Janis Cole, writing for Point of View, described the split-screen effect as supporting the text while "creating an optical treatment purposefully grounded in both dream and reality", as elements show out of sync. Jeff Rush and Cynthia Baughman, writing in the Journal of Film and Video, described the film as showing that "text can reverse the traditional balance of words = abstractions/images = the concrete" through the creation of vivid, perhaps disturbing, word pictures which serve as tangible images contrasted with the faint abstractions which are the actual images. Jack Rusholme, prefacing a retrospective of Hoolboom's works by Experimenta Media Arts, wrote that the split-screen evokes the effects of AIDS, in which "the body broken into dispersed vantages", while the narration serves to "bind with words what this disease will render lifeless and inert". In a 1994 interview, Hoolboom stated that his intent was to represent the "fragmentation of the body" experienced by AIDS sufferers.
Reception
Frank's Cock has received warm critical reviews, both in Canada and abroad. Cole called it an "extraordinary experimental documentary" that is "as bold as the title implies" and a strong argument for the widespread dissemination of short films. Waugh placed Frank's Cock as one of a "great AIDS triptych", together with Hoolboom's later works Letters from Home (1996) and Positiv. The Canadian film scholar Darell Varga wrote that the film is an "emotionally riveting" eulogy to the loss of love. Karen Tisch, writing in Take One, found that the short built its emotional power "delicately but steadily"; she suggested that its Toronto International Film Festival (TIFF) win was well-deserved.
Reviewing for the Western Australian independent film magazine In the Picture, James Twentyman wrote that the film was "relatively straightforward" but strong and provocative, emphasising the "soul-baring" nature of the monologue. Rush and Baughman found that the short took the narrative voice beyond what is mainstream, demonstrating "the power of word and image", while Rusholme described Frank's Cock as Hoolboom's "most explicit AIDS narrative". The Swiss film festival Viper touted the short as expressing humour and sexual obsession in the face of a plague.
Hoolboom has stated that he felt the film was accessible to both gay or straight audiences, which should "open them up to differences of form and why would make something formally different." Waugh suggested that this was successful, as in his experience audiences often cried at screenings.
Legacy
Frank's Cock won several awards at domestic and international film festivals. At the 1994 TIFF it won the NFB–John Spotton Award, given for the best Canadian short film. The jury cited Frank's Cock for its "evocative images, ... impeccable writing and mise-en-scène, ... moving depiction of the universal human experiences of love and loss in the age of AIDS, and especially for its success in shaking our preconceptions". The selection included C$2,500 in prize money and a further C$2,500 worth of film processing. When accepting the award, Hoolboom quipped "Frank's Cock has never seemed so large"; Waugh, however, suggests that the title "caused more embarrassment than mirth" when it was read during the citation. Special citations were also read for Andrew Munger's Make Some Noise and Philip Hoffman's Technilogic Ordering.
That year the film won a Golden Leopard at the Locarno International Film Festival in Locarno, Switzerland. At the Ann Arbor Film Festival in Ann Arbor, Michigan, Frank's Cock won Best Dramatic Film. The Canadian Filmmakers' Distribution Centre, which has distribution rights for the film, notes further awards at the Interfilm Festival in Berlin and Second Prize Experimental at the Big Muddy Film Festival in Carbondale, Illinois (both 1995), while Hoolboom records Frank's Cock as receiving an honourable mention at the University of Oregon's Queer Film Fest (1994).
The script for Frank's Cock has been published several times, including in the script anthology By the Skin of Their Tongues and in the Journal of Film and Video (both 1997). The film influenced Adam Garnet Jones' Secret Weapons (2008), commissioned by the Canadian Filmmakers Distribution Centre in celebration of its fortieth anniversary. However, unlike Frank's Cock, Secret Weapons focused on an LGBTQ identity within Canada's native community.
After his success at the TIFF, Hoolboom directed numerous further films, many showing a "fascination with its impermanence"; several, including Letters from Home, dealt explicitly with AIDS. Rennie, who had also received critical acclaim for his supporting role in Mina Shum's Double Happiness (1994), later became known for playing villains in Hollywood films.
See also
Notes
- ^ Bunbury 1994, Hollywood and Other Canadas.
- ^ Hoolboom 1997, Three Scripts.
- de Bruyn 1993, What He Said; Waugh 2006, p. 316
- McIntosh, Mike Hoolboom; Lacey 1998, Portrait of the Filmmaker; Waugh 2006, p. 315
- ^ Hoolboom, Frank's Cock.
- Bunbury 1994, Hollywood and Other Canadas; Hoolboom, Frank's Cock
- Bunbury 1994, Hollywood and Other Canadas; Cineworks, Breaking Up
- Hoolboom, Frank's Cock; Cole 2003/2004, From Frank's Cock
- Hoolboom, Credits; Cineworks, Omnibus
- Cineworks, Breaking Up.
- de Bruyn 1993, What He Said.
- ^ Waugh 2006, p. 316.
- Waugh 2006, p. 280; Hartl 2012, How Hollywood portrays AIDS
- ^ Cole 2003/2004, From Frank's Cock.
- TIFF, Frank's Cock; Viper 1995, p. 35
- Varga 2001, p. 87.
- ^ Rush & Baughman 1997, Introduction.
- ^ Rusholme 1994, How to Die.
- ^ Waugh 2002, p. 417.
- Varga 2001, p. 86.
- Tisch 1995, p. 47.
- Twentyman 1994, p. 18.
- Viper 1995, p. 35.
- ^ Harris 1994, Festival Prize.
- Everett-Green 1995, A Pauper Prince.
- Waugh 2006, p. 331.
- TIFF, Frank's Cock.
- AAFF, Frank's Cock.
- CFMDC, Frank's Cock.
- Reinke & Henricks 1997, p. 67.
- Kashmere 2008, Regeneration.
- McIntosh, Mike Hoolboom.
- Czach, Callum Keith Rennie.
References
- "Breaking Up". Cineworks. Archived from the original on 4 March 2016. Retrieved 26 October 2012.
- de Bruyn, Dirk (Spring 1993). "What He Said: An Interview with Mike Hoolboom". Workprint. Boston: 5. Archived from the original on 29 January 2013. Retrieved 25 October 2012.
- Bunbury, Stephanie (25 November 1994). "Hollywood and Other Canadas of the Soul". The Age. Melbourne. p. 19. Archived from the original on 2 December 2013.
- Cole, Janis (Winter 2003–2004). "From Frank's Cock to Imitations of Life: Ten Years With Mike Hoolboom". Point of View. No. 54. Documentary Organization of Canada. pp. 22–25. Archived from the original on 4 January 2013. Retrieved 16 August 2012.
- Czach, Liz. "Callum Keith Rennie". Toronto International Film Festival. Archived from the original on 22 February 2013. Retrieved 28 October 2012.
- Everett-Green, Robert (28 April 1995). "A Pauper Prince of Underground Film". The Globe and Mail. p. C3.
- "Frank's Cock". Ann Arbor Film Festival. Archived from the original on 28 December 2012. Retrieved 17 August 2012.
- "Frank's Cock". Canadian Filmmakers' Distribution Centre. Archived from the original on 14 April 2013. Retrieved 24 October 2012.
- "Frank's Cock". Canadian Film Encyclopedia. Toronto International Film Festival. Archived from the original on 22 February 2013. Retrieved 17 August 2012.
- Harris, Christopher (19 September 1994). "Festival Prize Spells Double Happiness". The Globe and Mail. p. C1.
- Hartl, John (2012). "How Hollywood portrays AIDS". MSNBC. Archived from the original on 21 October 2012. Retrieved 25 October 2012.
- Hoolboom, Mike. "Credits". mikehoolboom.com. Archived from the original on 29 January 2013. Retrieved 17 August 2012.
- Hoolboom, Mike. "Frank's Cock description". mikehoolboom.com. Archived from the original on 26 May 2024. Retrieved 17 August 2012.
- Hoolboom, Mike (1 October 1997). "Three Scripts". Journal of Film and Video. University Film and Video Association. (subscription required)
- "Iris and Frank's Cock". International Programme. Basel: Viper Film Festival: 35. 1995. Archived from the original (programme) on 28 January 2013. Retrieved 26 October 2012.
- Lacey, Liam (10 October 1998). "Portrait of the Filmmaker as a Busy Young Man". The Globe and Mail. p. C5.
- "Omnibus". Cineworks. Archived from the original on 14 October 2012. Retrieved 26 October 2012.
- Kashmere, Brett (May 2008). "Regeneration" (PDF). Canadian Filmmakers' Distribution Centre. Archived from the original (PDF) on 24 August 2012. Retrieved 24 August 2012.
- McIntosh, Andrew. "Mike Hoolboom". Canadian Film Encyclopedia. Toronto International Film Festival. Archived from the original on 22 February 2013. Retrieved 16 August 2012.
- Reinke, Steve; Henricks, Nelson, eds. (1997). By the Skin of Their Tongues. Toronto: YYZ Books. ISBN 978-0-920397-20-6.
- Rush, Jeff; Baughman, Cynthia (1 October 1997). "Introduction". Journal of Film and Video. University Film and Video Association. (subscription required)
- Rusholme, Jack (1994). "How to Die: The Films of Mike Hoolboom". Experimenta.org. Experimenta Media Arts. Archived from the original on 24 July 2008.
- Tisch, Karen (Winter 1995). "(untitled)". Take One. Toronto: 47.
- Twentyman, James (October 1994). "Preview: Mike Hoolboom's Shiteater and Frank's Cock". In the Picture. Fremantle: 18.
- Varga, Darell (2001). "Panic Bodies and the Performance of Space" (PDF). Canadian Journal of Film Studies. 10 (2): 80–101. doi:10.3138/cjfs.10.2.80. Archived from the original (PDF) on 4 March 2016. Retrieved 17 August 2012.
- Waugh, Thomas (2002). "Mike Hoolboom and the Second Generation of AIDS Films in Canada". In Beard, William; White, Jerry (eds.). North of Everything : English-Canadian Cinema since 1980. Edmonton: University of Alberta Press. pp. 416–429. ISBN 978-0-88864-390-2.
- Waugh, Thomas (2006). The Romance of Transgression in Canada: Queering Sexualities, Nations, Cinemas. Montreal: McGill-Queen's University Press. ISBN 978-0-7735-3069-0.
Further reading
- Fitzgerald, Maureen; Rayter, Scott (2012). Queerly Canadian: An Introductory Reader in Sexuality Studies. Toronto: Canadian Scholars' Press. ISBN 978-1-55130-400-7.
External links
- Frank's Cock at IMDb
- Script at Mike Hoolboom's official website
Films directed by Mike Hoolboom | |
---|---|
|
Toronto International Film Festival Award for Best Canadian Short Film | |
---|---|
|
Categories:
- 1993 films
- 1993 LGBTQ-related films
- Canadian independent films
- Canadian LGBTQ-related short films
- Canadian drama short films
- Films directed by Mike Hoolboom
- HIV/AIDS in Canadian films
- 1993 independent films
- 1990s English-language films
- 1990s Canadian films
- Canadian collage films
- English-language Canadian films
- English-language independent films