Juan A. Suárez is Professor at the University of Murcia in Spain. He is the author of Bike Boys, Drag Queens, and Superstars; Jim Jarmusch; and Pop Modernism: Noise and the Reinvention of the Everyday. His essays have appeared in Screen, Journal of Film and Media Studies, Grey Room, and New Literary History, among others, and in numerous edited volumes, most recently in The Music and Sound of Experimental Film, The Oxford Handbook of Queer Cinema, and A Companion to Experimental Film.

• 1. Introduction. Sexuality on the Outside: Experimental Cinema and Queer Materiality2. Ruins, Magical Objects, Litter, and Synthetics: The Queer Materials of Postwar Avant-Garde Film 3. Amphetamine and Queer Materiality in Andy Warhol's Factory Films4. Crashing Bodies, Excrement, and Plastics: The Kuchar Brothers in the Sixties5. Glitter and Queer Embodiment in Seventies Film and Performance6. Film Grain, Discontinuous Representation, and the Queer Corporealities of Underground Cinema7. The Afterlives of Film Grain: Precarious Bodies, Poor Images 8. Synthetic, Exotic, Magnetic: The Noise of Queer Experimental Film

“Juan Suárez's new book on queer materiality in experimental film is fiercely original, thrillingly insightful and simply a great joy to read. Through a series of stunning readings and revelatory theoretical elaborations, Suárez makes a brilliant case for the myriad ways that sexuality is enmeshed in the object world of everyday life. He shows us how glitter, amphetamines, Ben-Day dots, brightly colored plastic and other materials of post-war consumer capital were essential elements of the sexual worlds presented by filmmakers like Kenneth Anger, Jack Smith, Marie Menken, the Kuchar Brothers, and Andy Warhol. In so doing, Suárez makes a major contribution to queer theory and film studies.”

Juan A. Suárez is Professor at the University of Murcia in Spain. He is the author of Bike Boys, Drag Queens, and Superstars; Jim Jarmusch; and Pop Modernism: Noise and the Reinvention of the Everyday. His essays have appeared in Screen, Journal of Film and Media Studies, Grey Room, and New Literary History, among others, and in numerous edited volumes, most recently in The Music and Sound of Experimental Film, The Oxford Handbook of Queer Cinema, and A Companion to Experimental Film.

• 1. Introduction. Sexuality on the Outside: Experimental Cinema and Queer Materiality2. Ruins, Magical Objects, Litter, and Synthetics: The Queer Materials of Postwar Avant-Garde Film 3. Amphetamine and Queer Materiality in Andy Warhol's Factory Films4. Crashing Bodies, Excrement, and Plastics: The Kuchar Brothers in the Sixties5. Glitter and Queer Embodiment in Seventies Film and Performance6. Film Grain, Discontinuous Representation, and the Queer Corporealities of Underground Cinema7. The Afterlives of Film Grain: Precarious Bodies, Poor Images 8. Synthetic, Exotic, Magnetic: The Noise of Queer Experimental Film

“Juan Suárez's new book on queer materiality in experimental film is fiercely original, thrillingly insightful and simply a great joy to read. Through a series of stunning readings and revelatory theoretical elaborations, Suárez makes a brilliant case for the myriad ways that sexuality is enmeshed in the object world of everyday life. He shows us how glitter, amphetamines, Ben-Day dots, brightly colored plastic and other materials of post-war consumer capital were essential elements of the sexual worlds presented by filmmakers like Kenneth Anger, Jack Smith, Marie Menken, the Kuchar Brothers, and Andy Warhol. In so doing, Suárez makes a major contribution to queer theory and film studies.”

Juan A. Suárez is Professor at the University of Murcia in Spain. He is the author of Bike Boys, Drag Queens, and Superstars; Jim Jarmusch; and Pop Modernism: Noise and the Reinvention of the Everyday. His essays have appeared in Screen, Journal of Film and Media Studies, Grey Room, and New Literary History, among others, and in numerous edited volumes, most recently in The Music and Sound of Experimental Film, The Oxford Handbook of Queer Cinema, and A Companion to Experimental Film.

• 1. Introduction. Sexuality on the Outside: Experimental Cinema and Queer Materiality2. Ruins, Magical Objects, Litter, and Synthetics: The Queer Materials of Postwar Avant-Garde Film 3. Amphetamine and Queer Materiality in Andy Warhol's Factory Films4. Crashing Bodies, Excrement, and Plastics: The Kuchar Brothers in the Sixties5. Glitter and Queer Embodiment in Seventies Film and Performance6. Film Grain, Discontinuous Representation, and the Queer Corporealities of Underground Cinema7. The Afterlives of Film Grain: Precarious Bodies, Poor Images 8. Synthetic, Exotic, Magnetic: The Noise of Queer Experimental Film

“Juan Suárez's new book on queer materiality in experimental film is fiercely original, thrillingly insightful and simply a great joy to read. Through a series of stunning readings and revelatory theoretical elaborations, Suárez makes a brilliant case for the myriad ways that sexuality is enmeshed in the object world of everyday life. He shows us how glitter, amphetamines, Ben-Day dots, brightly colored plastic and other materials of post-war consumer capital were essential elements of the sexual worlds presented by filmmakers like Kenneth Anger, Jack Smith, Marie Menken, the Kuchar Brothers, and Andy Warhol. In so doing, Suárez makes a major contribution to queer theory and film studies.”