Susan Stryker is a researcher, writer, queer historian, artist, and a filmmaker. She is the former executive director of the GLBT Historical Society of Northern California, and a former history columnist for Planet Out. She has written and co-authored books like Gay by the Bay: A History of Queer Culture in the San Francisco Bay Area and edited “The Transgender Issue” of The Journal of Lesbian and Gay Studies, Vol 4, No 2, 1998. She recently discovered and made a film about the Compton’s Riot – riots by transpeople in San Francisco that pre-date Stonewall – and turned that discovery into a documentary film, Screaming Queens.
1) I was really excited to learn that someone else is a fan of Cronenberg’s films. Why do you love them?
I love Cronenberg because he disturbs me, and because he’s such a fierce auteur who’s not afraid to show even the most unsettling aspects of his sensibility. I like that he is such a philosphically smart filmmaker, and a whiz at making things look stylish on a low budget. But I think my favorite thing is that he really, really pays attention to the fact that we are bodies, that bodies are different from one another, and that bodily difference is a source of fascination, pleasure, dread, and horror for everybody.
That said, I don’t always like Cronenberg. I think his take on women is sometimes mysogynistic, that he finds horrific things I find familiar and desirable. I think he sometimes despairs that his mind is inextricably embedded in flesh, rather than reveling in that. But I totally admire the unflinching way he looks at and represents those feelings. I guess that’s the biggest turn-on for me–that he is alive and engaged with the phenomenogical, existential, emobodied situation of human experience. He feels what it means to be made of meat, and helps us see that.
Favorite moments? Hard to top Videodrome, start to finish–the snuff films, growing new orifices, the flesh gun, infections by viral images, the disemebodied Great White Man in a post-death virtual existence on videotape. What a brilliantly twisted film. And Deborah Harry was just plain ol’ hot. I also love the doomed romance between Jeff Goldblum and Gina Davis in The Fly, and those dwarves who burst out of the rage-sacks growing on Samantha Eggar’s body in The Brood, who then beat that kindergarten teacher to death while all the kiddies look on. When I saw that, I though “this is what filmmaking is all about–see it, don’t say it; show it, don’t tell it.” Cronenberg is such an amazing visual storyteller. He lets you see feeling in an unprecedented way. I could go on and on, but I guess I should stop here.
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