Two young men meet and fall in love in Disneyland.

Presented as loosely autobiographical, Hold Me While I’m Naked centres on the tribulations of an independent filmmaker, frustrated at every turn as he tries to make a film that pretends to artistic merit.

The Dickson Experimental Sound Film is a film made by William Dickson in late 1894 or early 1895. It is the first known film with live-recorded sound and appears to be the first example of a motion picture made for the Kinetophone, the proto-sound-film system developed by Dickson and Thomas Edison. (The Kinetophone—consisting of a Kinetoscope accompanied by a cylinder-playing phonograph—was not a true sound-film system as no attempt was made to synchronize image and audio throughout playback.) The film was produced at the "Black Maria," Edison's New Jersey film studio. There is no evidence that it was ever exhibited in its original format. Newly digitized and restored, it is the only surviving Kinetophone film.
The movie features Dickson playing a violin into a recording cone for an off-camera wax cylinder.[1] The melody is from a barcarolle, "Song of the Cabin Boy," from Les Cloches de Corneville (literally The Bells of Corneville; presented in English-speaking countries as The Chimes of Normandy), a light opera composed by Robert Planquette in 1877.[2] In front of Dickson, two men dance to the music. In the final seconds, a fourth man briefly crosses from left to right behind the cone. The running time of the restored film is seventeen seconds; the accompanying cylinder contains approximately two minutes of sound, including twenty-three seconds of violin music, encompassing the film's soundtrack. After its restoration in 2000, the Dickson Experimental Sound Film was selected for inclusion in the United States National Film Registry.

When Algie Allmore asks to marry Clarice, the young woman's father gives him one year to prove that he's a man.

Based on Herman Bang's novel Mikael, Vingarne is a silent melodrama about an artist's love for his newfound male model. Radically, the film opens with director Stiller and his cinematographer coming across a sensual staue of Icarus in the gardens in Stockholm. Then the movie proper begins, with artist Claude Zoret struck by love at first sight for the young Mikael in a woodland; he adopts Mikael, who serves as inspiration for his latest sculpture. Inevitably Mikael gets his wings burnt when he starts courting Zoret's patron, the unscrupulous Lady Lucia; pained by Mikael's desertion, Zoret dies during a fierce storm before his staue of the naked boy.
Watching Vingarne 75 years after its production is an extraordinary experience. It's easy to get caught up in the fragmentary feel of the narrative, to work too hard at following the story instead of giving up to its original allusiveness. So, some tips to tap into that intended sense: First, bear in mind that both novelist Bang and director Stiller were known to be gay.
Second, it's interesting to compare Vingarne with Carl Dreyer's film of the same novel (also called Mikael). Many of the greatly sensual scenes from Dreyer's film are foreshadowed in the first version.
Finally, the most startling--and infuriatingly brief--thing about Vingarne is the framing device and the idea of a film-within-a-film. Confronted by the barest remains of his extraordinary conceit, we can only imagine what the original felt like.
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Set on Fire Island, My Hustler depicts competition over the affections of a young male hustler among a straight woman, a former male hustler, and the man who hired the boy's companionship via a "Dial-A-Hustler" service.

视 觉上Flaming Creatures就是Josef von Sternberg加上疯狂的异装癖假面舞会家庭录影。Smith使用了过期黑白胶片，给影片一种缥缈的味道。影片没有情节，配乐用的是一组Maria Montez影片对白蒙太奇，hacienda音乐，和摇滚。他的影片里有搞笑阿拉伯女奴，狂放的西班牙舞者，等等。吸血鬼样的Marilyn Monroe模仿者，当然是男的，从棺材中爬出，出现在空镜头里，手里拿着一捆花，走过一堆尸体。然后开始掀开一尸体的衣服撩拨他的阴茎。就这样，性的复活最终让所有尸体复活，影片如标准的Busby Berkeley音乐剧一样结束了。

The film — a mix of music, colors, abstract scenes and little dialogue — is based loosely on the life and death of Mexican-American actress Lupe Velez. The music, far more than mere background, borders on serving as the film’s narrative and ranges from classical to contemporary pop music.

Lillian Travers, a New York heiress, pops down to Florida to surprise her fiance, Fred Cassadene, the house doctor at a prominent summer and winter hotel. The surprise, however, is Lillian's when she finds Fred in a series of compromising situations with a certain wealthy widow staying there. When she can take no more, Lillian discovers a box forgotten at an old curiosity shop in which lies a hundred year old secret: a vial of four rare and exotic African seeds that promises to transform whoever swallows one from a woman to a man or vice versa.

A young man desperately seeks out the fleeting image of a female companion, and though he never quite catches her, he discovers much more through the surreal explorations of his own sexuality. Preserved by the Academy Film Archive in 2012.

poetic and expressionist

In LOT IN SODOM, distortion is often used to keep reality, or rather its appearance, from disturbing the film's mood. And in the final scene distortion makes Lot's daughter seem not only different but formidable as she grasps the wine cup. - J.S. Watson, Jr.

Salomé (1923), a silent film directed by Charles Bryant and starring Alla Nazimova, is a film adaptation of the Oscar Wilde play of the same name. The play itself is a loose retelling of the biblical story of King Herod and his execution of John the Baptist (here, as in Wilde's play, called Jokaanan) at the request of his stepdaughter, Salomé, whom he lusts after.
Salomé is often called one of the first art films to be made in the U.S.[citation needed] The highly stylized costumes, exaggerated acting (even for the period), minimal sets, and absence of all but the most necessary props make for a screen image much more focused on atmosphere and on conveying a sense of the characters' individual heightened desires than on conventional plot development.
Despite the film being only a little over an hour in length and having no real action to speak of, it cost over $350,000 to make. All the sets were constructed indoors to be able to have complete control over the lighting. The film was shot completely in black and white, matching the illustrations done by Aubrey Beardsley in the printed edition of Wilde's play. The costumes, designed by Natacha Rambova, used material only from Maison Lewis of Paris, such as the real silver lamé loincloths worn by the guards.
No major studio would be associated with the film, and it was years after its completion before it was released, by a minor independent distributor. It was a complete failure at the time and marked the end of Nazimova's producing career.
A longstanding rumor, which seems to have started while the film was still in production, suggests that its cast is comprised entirely of gay and bisexual actors in an homage to Oscar Wilde, as per star and producer Nazimova's demand. It is, of course, impossible to say, but one of the extras in Salomé reported that a number of the cast members—both featured and extras—were indeed gay, but not an unusual percentage of them, and certainly not all of them. What can be said is that Nazimova herself was a lesbian, the two guard characters (who, next to Salomé, have the most screen time) are at least played very stereotypically gay, and several of the female courtiers are men in drag.
Salomé was screened in 1989 at the New York International Festival of Lesbian and Gay films and in 1990 at the New York Gay Experimental Film Festival.
In 2000, the United States Library of Congress deemed the film "culturally significant" and selected it for preservation in the National Film Registry.

这是一部探讨意大利人爱情与性观念的带有社会学性质的纪录片。影片向意大利各地、各种阶层，各种行业、各种年龄的男女们询问关于爱情和婚姻生活、性生活方面的各种问题，甚至采访孩子们“孩子是怎样生出来的”。
他随意地把镜头和麦克风向着沐浴在阳光下悠闲散步的人们；在镜头后面，他向人们抛出了一个有关"爱情"――这是一个交叉着包容了性、夫妻、快乐、家庭、婚约以及风俗习惯、卖淫及其价格等多种范畴的模糊不定的领域――的问题。有的人把他的那些"不足为外人道"的回忆伪装改扮，说起来支支唔唔、顾左右而言它，而他们又时常收拾起他们自己的隐痛，喋喋不休地好象是别人的代言人；他们越聊越近乎，说出他们赞赏的事物和不满意之处；他们勾肩褡背、面面相觑。笑语、伤痛，还有些许狂热迅速在这一群人中间传递，波及每一个人。

英俊青年麦克尔（Walter Slezak 饰）是画家苏莱特的专属模特，以麦克尔为原型，苏莱特创作出了精美的艺术作品，名声大噪，登门求画的人络绎不绝，但苏莱特为了保存和麦克尔的美好回忆拒绝出卖杰作。年轻貌美的女伯爵拜访苏莱特，请求后者为自己画像，麦克尔默默注视着女伯爵，四目交投之下，情意暗生，苏莱特思量之后决定为女伯爵作画，但创作不久因苏莱特无法描画女伯爵的眼睛而陷入停滞，麦克尔提笔代劳，女伯爵美丽的神色跃然画上……麦克尔与女伯爵相爱并逐渐离苏莱特而去，苏莱特承受着年青人的欺骗和背叛，将内心的悲苦呈现在画作上，受孤独煎熬的生命之火渐渐熄灭……
本片根据赫曼·邦的同名小说改编，是电影史上最早涉及同性恋题材的作品之一。

Mona's Candle Light was discovered among reels of film that Geoff Alexander, of the Bay Area-based Academic Film Archive of North America, bought at a flea market in an unmarked box. There are no credits, so it is impossible to determine who shot it and for what purpose. The film is 1950s footage, probably amateur, of a well know lesbian club (which had opened in the 1930s), Mona's Candle Light, and it is an invaluable document of that underground scene. (archive.org)

Two scantily clad men pose, wrestle, and jokingly try to out-flex one another in what amounts to a beauty contest of its own.

In 1967, New York City is host to the Miss All-American Camp Beauty Pageant. This documentary takes a look behind the scenes, transporting the viewer into rehearsals and dressing rooms as the drag queen subculture prepares for this big national beauty contest. Jack/Sabrina is the mistress of ceremonies, and their protégé, Miss Harlow, is in the competition. But, as the pageant approaches, the glamorous contestants veer from camaraderie to tension.

“Approximately thirty images comprise Oblivion. Most obsessively repeat themselves. Although the images appear to be solarized, the film was actually contact-printed, combining high contrast black and white negative with a colour positive of the same image. The high contrast accounts for the tendency of shots to flood. Images in the film swell and contrast, often disappearing into pure colour… Oblivion employs extremely rapid cutting. Some of the images last as briefly as two frames. The fact that we see so few frames, that a shot is representationally ambiguous, or shown upside down and sideways, often causes the viewer to project his/her own fantasies… When Jean Genet was asked to what end he was directing his life he responded, “To oblivion.” (J.J. Murphy, “Reaching for Oblivion”) (mikehoolboom.com)

“Twice A Man is a fragmented re-imagining of the Greek myth of Hippolytus, who was killed after rejecting the advances of his stepmother. Markopoulos’ vision transposes the legend to 1960s New York and has its main character abandon his mother for an elder man. Employing sensuous use of colour, the film radicalised narrative construction with its mosaic of ‘thought images’ that shift tenses and compress time. One of the touchstones of independent filmmaking, Twice A Man was made in the same remarkable milieu as Scorpio Rising and Flaming Creatures by a filmmaker named ‘the American avant-garde cinema’s supreme erotic poet’ by its key critic P. Adams Sitney.” —Mark Webber
Based on the story of Hippolytus. Featuring Paul Kilb, Olympia Dukakis, Albert Torgesen. Music: Excerpt from Manfred Symphony by Pyotr Tchaikovsky op. 58. Filmed in New York City, Staten Island, Long Island and Bear Mountain Park.