Marc Francis is Manager of Film Programming in Faculty of Arts and Sciences at Yale University and has worked at HBO, Warner Bros, and Paramount.

• Acknowledgments ixIntroduction 11. Promiscuous Programming: Filmic Eclecticism in Post-1968 Art House Cinema 232. Deviant Repertories: The Queer Typologies and Taxonomies of Art House Curating 573. Erotic Intertextuality: On the Programmatic Forms of Desire 974. Repertory Time: Double Features and the Temporality of Queer Spectatorship 1435. For Shame! On the History of Programming Queer “Bad Objects” 181Afterword. Curating Queer Cinema After 1989 207Notes 215Bibliography 267Index 281

“In Marc Francis’s well-researched and robustly imagined Curating Deviance, art-house revival has found both a cultural history and curatorial rationale that goes beyond nostalgia. With a theorist’s acuity and a cinephile’s affection, Francis reframes stories of imaginative curators and programmers who transformed the movie calendar into a renegade syllabus of maverick desire.”—Tavia Nyong'o, William Lampson Professor of American Studies, Yale University“Witty, theoretically astute, and rigorously researched, Curating Deviance opens new theories of intertextual signification through close reading of ‘promiscuous programming’ in late-twentieth-century repertory and art houses. Francis’s prose is accessible enough for undergraduates, and his arguments will satisfy and surprise seasoned exhibition and queer cinema historians alike.”—Caetlin Benson-Allott, author of The Stuff of Spectatorship: Material Cultures of Film and Television

Marc Francis is Manager of Film Programming in Faculty of Arts and Sciences at Yale University and has worked at HBO, Warner Bros, and Paramount.

• Acknowledgments ixIntroduction 11. Promiscuous Programming: Filmic Eclecticism in Post-1968 Art House Cinema 232. Deviant Repertories: The Queer Typologies and Taxonomies of Art House Curating 573. Erotic Intertextuality: On the Programmatic Forms of Desire 974. Repertory Time: Double Features and the Temporality of Queer Spectatorship 1435. For Shame! On the History of Programming Queer “Bad Objects” 181Afterword. Curating Queer Cinema After 1989 207Notes 215Bibliography 267Index 281

“In Marc Francis’s well-researched and robustly imagined Curating Deviance, art-house revival has found both a cultural history and curatorial rationale that goes beyond nostalgia. With a theorist’s acuity and a cinephile’s affection, Francis reframes stories of imaginative curators and programmers who transformed the movie calendar into a renegade syllabus of maverick desire.”—Tavia Nyong'o, William Lampson Professor of American Studies, Yale University“Witty, theoretically astute, and rigorously researched, Curating Deviance opens new theories of intertextual signification through close reading of ‘promiscuous programming’ in late-twentieth-century repertory and art houses. Francis’s prose is accessible enough for undergraduates, and his arguments will satisfy and surprise seasoned exhibition and queer cinema historians alike.”—Caetlin Benson-Allott, author of The Stuff of Spectatorship: Material Cultures of Film and Television

Marc Francis is Manager of Film Programming in Faculty of Arts and Sciences at Yale University and has worked at HBO, Warner Bros, and Paramount.

• Acknowledgments ixIntroduction 11. Promiscuous Programming: Filmic Eclecticism in Post-1968 Art House Cinema 232. Deviant Repertories: The Queer Typologies and Taxonomies of Art House Curating 573. Erotic Intertextuality: On the Programmatic Forms of Desire 974. Repertory Time: Double Features and the Temporality of Queer Spectatorship 1435. For Shame! On the History of Programming Queer “Bad Objects” 181Afterword. Curating Queer Cinema After 1989 207Notes 215Bibliography 267Index 281

“In Marc Francis’s well-researched and robustly imagined Curating Deviance, art-house revival has found both a cultural history and curatorial rationale that goes beyond nostalgia. With a theorist’s acuity and a cinephile’s affection, Francis reframes stories of imaginative curators and programmers who transformed the movie calendar into a renegade syllabus of maverick desire.”—Tavia Nyong'o, William Lampson Professor of American Studies, Yale University“Witty, theoretically astute, and rigorously researched, Curating Deviance opens new theories of intertextual signification through close reading of ‘promiscuous programming’ in late-twentieth-century repertory and art houses. Francis’s prose is accessible enough for undergraduates, and his arguments will satisfy and surprise seasoned exhibition and queer cinema historians alike.”—Caetlin Benson-Allott, author of The Stuff of Spectatorship: Material Cultures of Film and Television