2009
Below is an excerpt from a review by Adrienne Skye Roberts on the SF MOMA Blog discussing "Saturday Night at the Eagle" in the context of pride month and the history of HIV & AIDS in the LGBT community. Posted June 25, 2009.
Full text here: http://blog.sfmoma.org/2009/06
Indeed, the common narrative of “coming out” implies an action that occurs in one specific time and place, an experience which I think many people would agree does not take into account the fluidity of identity, nor the constant negotiation of one’s identity within different contexts. In other words, the time (and space) of “coming out” is not static, but rather continues to evolve.
Another example of this movement occurs between McDowell’s documentary-esque film “Ronnie” from the 1970s and Adelman’s recent “Samstag Abend im Eagle (Saturday Night at the Eagle).” “Ronnie” features a monologue of a man who attempts to keep his identity as straight stable while describing his experience having sex with another man for pay. The narrative is surprisingly casual and almost flippant. Following this confession, is “Samstag Abend im Eagle (Saturday Night at the Eagle)” a film in which we observe a more contemporary, albiet no less complicated negotiation of sex and identity through religion and illness. “Samstag Abend im Eagle (Saturday Night at the Eagle)” invites viewers to witness the artist as he participates in tefillin, the Jewish ritual of wrapping one’s arms and head in leather scrolls before reciting morning prayers. However, rather than wrapping his head, Adelman wraps his penis in the leather scroll while a monologue in German describes his encounter with another man at the San Francisco gay bar, The Eagle Tavern. The narrative describes the negotiation and conflict that arises in learning that this man is HIV positive. In moving from the very matter-of-fact description of sex between two men in “Ronnie” to Adelman’s film which takes on a serious and confessional tone, the viewers are reminded of the weight of the AIDS epidemic, which was not a concern during the time that “Ronnie” was filmed. “Samstag Abend im Eagle (Saturday Night at the Eagle)” also challenges the specific time and space of such an experience; we listen to a man’s story that takes place in a gay bar while witnessing his enactment of a sacred religious ritual. Through these careful pairings, time expands and contracts. Where we may have settled in one film, we are uprooted in the next.
As San Francisco prepares itself for the approaching PRIDE weekend, the question of queer time and space is highly visible and palpable. Yet, the rainbow flags donning the lightposts along Market Street and throughout the city represent a very specific queer time and space—one sanctified and let us not forget, sponsored. While the historical lineage of this celebration is important to recognize, I hope it comes with some criticality, as well. And the acknowledgement that beyond the designation of the month of June as GLBTQ PRIDE month, queer time exists—in moments that are transitory, both private and public, political and personal, and that, much like the experience of traveling through the films, represent an experience of time that does not settle.
Full text here: http://blog.sfmoma.org/2009/06
Indeed, the common narrative of “coming out” implies an action that occurs in one specific time and place, an experience which I think many people would agree does not take into account the fluidity of identity, nor the constant negotiation of one’s identity within different contexts. In other words, the time (and space) of “coming out” is not static, but rather continues to evolve.
Another example of this movement occurs between McDowell’s documentary-esque film “Ronnie” from the 1970s and Adelman’s recent “Samstag Abend im Eagle (Saturday Night at the Eagle).” “Ronnie” features a monologue of a man who attempts to keep his identity as straight stable while describing his experience having sex with another man for pay. The narrative is surprisingly casual and almost flippant. Following this confession, is “Samstag Abend im Eagle (Saturday Night at the Eagle)” a film in which we observe a more contemporary, albiet no less complicated negotiation of sex and identity through religion and illness. “Samstag Abend im Eagle (Saturday Night at the Eagle)” invites viewers to witness the artist as he participates in tefillin, the Jewish ritual of wrapping one’s arms and head in leather scrolls before reciting morning prayers. However, rather than wrapping his head, Adelman wraps his penis in the leather scroll while a monologue in German describes his encounter with another man at the San Francisco gay bar, The Eagle Tavern. The narrative describes the negotiation and conflict that arises in learning that this man is HIV positive. In moving from the very matter-of-fact description of sex between two men in “Ronnie” to Adelman’s film which takes on a serious and confessional tone, the viewers are reminded of the weight of the AIDS epidemic, which was not a concern during the time that “Ronnie” was filmed. “Samstag Abend im Eagle (Saturday Night at the Eagle)” also challenges the specific time and space of such an experience; we listen to a man’s story that takes place in a gay bar while witnessing his enactment of a sacred religious ritual. Through these careful pairings, time expands and contracts. Where we may have settled in one film, we are uprooted in the next.
As San Francisco prepares itself for the approaching PRIDE weekend, the question of queer time and space is highly visible and palpable. Yet, the rainbow flags donning the lightposts along Market Street and throughout the city represent a very specific queer time and space—one sanctified and let us not forget, sponsored. While the historical lineage of this celebration is important to recognize, I hope it comes with some criticality, as well. And the acknowledgement that beyond the designation of the month of June as GLBTQ PRIDE month, queer time exists—in moments that are transitory, both private and public, political and personal, and that, much like the experience of traveling through the films, represent an experience of time that does not settle.
