WRONG KIND OF FAT (2019)

‘A queer Jenny Holzer’, artist Henrietta Simson

‘Gatekeeping of the stereotypes that exist within the LGBT community in terms how films dealing with LGBT representation show how queer people are meant to be/perform/behave/label themselves and put themselves in a box’

‘We want to make people think and Lee’s films do just that. He provides a unique perspective and even though his films aren’t explicit, they make you think about the body and about queer sexuality and about how society manipulates our perspective on both. Most of our customers are students and academics who want to learn more about the body, sexuality and society. We also have people who have never thought about different methods of sexual expression. We provide them with different depictions of the body and sexuality, both for education and artistic enjoyment. And Lee does it in such an artistic way!’ Arthouse Vienna

'We loved the themes running through your poem touching on masculinity and the self-discovery of sexuality.. We loved the pieces when we viewed them and their ability to tackle issues faced in the gay community. We feel that many of our readers will find these works relatable and hopefully, this can open up a dialogue to challenge body shaming and other issues in our community.’ Queerlings

SUMMARY:
As Deborah Findlater has suggested, ‘For many marginalised people, the gaze comes with a set of difficulties and issues. Bodies judged, watched, surveilled and projected on.’ Employing protest art, chanting within ACT UP and queer movements, of political campaign, and visual techniques used throughout Marlon Riggs' VOICES UNITED (1989), WRONG KIND OF FAT features me with a hypnotic soundtrack of me repeating queer male archetypes against these words written over my torso and face. Words making a barrier over my face. Literally, ‘in my face’. By identity labelling and stereotyping, the gay male subculture can be very elitist and ends up reproducing the violence that it claims to be escaping.

WRONG KIND OF FAT explores the idea of being codified by a set of occularcentric taxonomic principles that are meant to determine who you are as a person and how you function in a relationship. It reflects on the kinds of role gay men are expected to conform to, where identity becomes something detached or external and how you can fit into that. What function does stereotyping or strict boundaries to certain kinds of labels serve? Maybe it’s about being seen. If I can say that I am ‘this’ very definite thing. I can be seen through this kind of role whereas otherwise … We always think there’s a certain kind of playfulness with these roles, but its boundaries are policed so rigidly.

The gay male community is even more controlling about what you should look like and how you should behave - why is that community stereotyping themselves? A niched community that is then even more niched. I am highlighting society’s control on body shape - but not society as a whole, I am using language from a specific subculture - a subculture which is very anti being controlled then controls itself in a very nasty way. This very inclusive environment which is very coercive of itself and quite damaging.

WRONG KIND OF FAT uses gay slang ‘bear, cub, wolf etc.’ and addresses power relations in queer subcultures and particularly within queer male spaces of conviviality which engage in processes of inclusion and exclusion. It employs protest art, of modes of representation, chanting within ACT UP and queer movements, of political campaign. The speaking mouth shot throughout the film draws inspiration from visual techniques used throughout Marlon Riggs' VOICES UNITED (1989) a documentary about the struggles for social acceptance amongst black gay men combining music, poetry dance and video. Reminiscent of early guerrilla protest video art from the 1980s, the film combines fine art and moving image by including my own drawings of my body.

The spaces that young queer people are creating for themselves are animated by a constant sense of self- policing, saying the right thing, being pc, body image ideals; feeling quite oppressed themselves. Certain subsets of gay subculture promote themselves as generating inclusive spaces whilst containing aspects that discriminate.

WRONG KIND OF FAT features me with a hypnotic soundtrack of me repeating queer male archetypes against these words written over my torso. I’ve been told I am too slim to be a bear and too fat to be a cub. My frustration with labelling has led me to resist such discrimination. I am never going to escape these prejudices and pressures. I am never going to fit into society’s ideals. They are made up and everyone aspires to them. I will never give into these. WRONG KIND OF FAT is not just intended for queer men, it is a call for action for all men, regardless of their identity and sexuality. All men, are under so much pressure to have the ‘body beautiful’ made famous in classical Renaissance art. These ideals are not real. They are made up and dictates that that every man aspires to them.

  • Lee Campbell
    Director
  • Project Type:
    Experimental, Short
  • Runtime:
    1 minute
  • Completion Date:
    March 26, 2019
  • Country of Origin:
    United Kingdom
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
  • MicroActs • Artist Film Screening
    London
    July 18, 2019
    Official Selection
  • Athens Porn Film Festival
    Athens
    Greece
    May 23, 2020
    European Premiere
    Official Selection
  • Porn Film Festival, Vienna
    Vienna
    Austria
    Official Selection
  • Vesuvius International Film Festival

    May 31, 2020
    Official Selection
  • HOMOGRAFÍA / HOMOGRAPHY
    Brussels
    Belgium
    October 10, 2020
    Official Selection
  • Porn Film Festival 2020, Berlin
    Berin
    October 23, 2020
    Official Selection
  • States of Desire: Tom of Finland in the Queer Imagination
    Philadelphia
    United States
    September 6, 2020
    North American premiere
    Official Selection
  • NSFW FILM FESTIVAL
    LOS ANGELES
    United States
    December 20, 2021
    OFFICIAL SELECTION
  • PORN.FILM.FEST
    Innsbruck
    Austria
    March 18, 2022
    Official Selection
Director Biography - Lee Campbell

Dr Lee Campbell is an artist, poet experimental filmmaker, writer, Senior Lecturer at University of the Arts London, curator of regular performance poetry night POW? Play on Words in South London and founder of Homo Humour, the first of its kind project on contemporary queer male film and moving image practices that explore humour and LGBTQ+ storytelling. His experimental performance poetry films have been selected for many international film festivals since 2019 including Queerbee LGBT Film Festival, The Gilbert Baker Film Festival, Kansas 2020 and 2021, HOMOGRAPHY, Brussels and STATES OF DESIRE: Tom of Finland in the Queer Imagination, Casa de Duende, Philadelphia, USA, 2020 WICKED QUEER 2021, Boston, USA, FilmPride - Brighton & Hove Pride's official LGBTQ+ film festival, Brighton, UK, Splice Film Festival 2021, Brooklyn, USA and Darkroom Festival, London.
 
In 2022, Lee’s films have screened/will screen at prestigious events/festivals including REELpoetry/HoustonTX, Houston, USA, Living with Buildings II, Coventry, UK, Beyond Words curated by Gabriel Sosa, Fountain Street Gallery, Boston USA, Micromania Film Festival ,The Football Art Prize, UK-touring exhibition to Touchstones Rochdale, Millennium Gallery, Sheffield and Sunderland Museum & Winter Gardens, Scream Queer Film Festival, Rome, Italy, Splice Film Festival 2022, Brooklyn, USA, TRANÅS AT THE FRINGE - International Screening of Experimental Films and Videopoems, Sweden, Post Pxrn Film Festival, Warsaw, Poland and FILM.ART Festival, Innsbruck, Austria. He has a solo exhibition of his poetry films, See Me, in July 2022 at Fountain Street Gallery, Boston, USA.
 
Lee has been interviewed numerously about his current film/performance work including interviews on BBC Radio Sussex and Surrey with Kathy Caton for Out with Kathy, KMTV (local Kent-based TV station) interview feature about Bona Polari! solo exhibition, Daniel Hess for To Tony Productions, Tim Kirk, Matt Skallerud for I Love Gay Today/Pink Media LGBT, Hamish Downie’s Five Questions With – Lee Campbell (March 2021) BBC Radio Kent- Interview with Dominic King for The Dominic King Show January 2021. His film work has received critical acclaim with recent review features of his film work by Francesca de Luca in Cut Frame Magazine and James Clark in Lost Creatives.
 
His live Zoom poetry performances have been showcased at events including Disturbance#2, Ugly Duck, London, Theatre Deli, London Festival ECRÃ Edition 5, Rio de Janeiro, the Immersive Storytelling Symposium, Lakeside Arts Centre, Nottingham and Rise Up! Reconnect. Rebuild. Recreate 10th International Digital Storytelling Conference, Loughborough University. In October 2021, Lee headlined Forum+ Incite! Lee currently performs regularly at poetry events across London including Poetry Shack, Mind Over Matter, Poetry LGBT, The Word Zoo, Mother Wolf Club, Gob Jaw and Paper Tiger Poetry where he won Best Poem of the Night (September 2021). Lee presented a one hour solo poetry performance at Brighton Fringe 2022 in 2022. Lee was one of the invited performance poets for Bold Queer Poetry Soirée, Above the Stag Theatre, London in June 2022.
 
His poem ‘Clever at Seeing without being Seen’ was recorded for Sometimes, The Revolution is Small, Disarm Hate x Poetry project by Nymphs & Thugs Recording Co. UK. Publications of his poetry include The Atticus Review, Ink, Sweat and Tears, Untitled. Voices, Gob Jaw Anthology 2019-2022, Issue Two: Wasteland, Powders Press, Issue One: First Times, Powders Press, Otherwise, You Are Here - The Journal of Creative Geography and Queerlings – A Literary Magazine for Queer Writing.
 
Lee has a long history of curating performance and fine art exhibitions internationally. For example, between 2005-2008, he curated All for Show, an internationally touring film showreel of emerging and established British moving image artists whose work exposed the banalities of everyday life through humour, self-introspection, and serious play. In 2020, Lee curated Radical Ventriloquism at Kelder, London. His most recent curation is Homo Humour which this year has screened at Metal, Southend-on-Sea, Open Eyen Liverpool and FRISE, Hamburg, Germany. Lee runs a regular monthly experimental poetry /spoken word night, POW! Play on Words, at The Bridge House Theatre in South London where he is currently curatorial poet in residence. In January 2021, he curated a set of queer poetry evenings for BBC Radio.

RECENT SELECTED AWARDS:
2021 Honorable Mention, Athens International Monthly Art Film Festival
2021 Best Psychedelic Fantasy film winner for 'See Me' (2020), Retro Avant Garde Film Festival NYC 
2021 Semi-Finalist, Serbest International Film Festival 2021
2021 Honorable Mention, Splice Film Festival, New York
2021 Nominee for Best Original Concept and Best Atmosphere Independent Horror Movie Awards 2021
2021 Honorable Mention Award for 'See Me' (2020), Screener Short Films 
2021 Best Kent Film nominee for ‘Peer’ (2020), Margate Bookie Film Festival
2021 Honorable Special Mention Award, Athens International Monthly Art Film Festival
2020 Semi-Finalist (3rd place winner), Splice Film Festival, New York
2019 Special Mention Award, London-Worldwide Comedy Short Film Festival

Add Director Biography
Director Statement

My work broadly explores vision, visuality, and the politics of seeing and not seeing and has a long historied body of practice since 2000. As both the writer, director and performer within the experimental films and poetry performances I create, I view my practice as me performing an autoethnography; using these media forms and the chosen themes within their narratives to help me self-reflect and (better) understand myself in relation to acts of looking, seeing and being seen and the difficulty in terms of not seeing/not being seen and my own subjectivity and experiences as British, working class, male, and gay.

Comedy historically comes from a queer identity defence, when it was harder to be gay in public, to be funny like Kenneth Williams who used gay slang known as Polari to communicate with other gay men covertly. Extending these ideas, underpinning my work are the mechanisms of comedy and humour to create a form of autoethnographic storytelling that subverts and challenges through a sophisticated usage of camp, innuendo and double-entendres to speak of personal narratives often raw, often painful but always generous and authentic.

Applied humour as a tactic to subvert and challenge a issues of homosexual identity and representation in relation to themes addressing seeing/not seeing etc, My practice presents a personal archaeology and revolves around my own autobiographical perspective, using the mechanisms of comedy and humour to engage, disarm, and highlight the gay male subcultural milieu which needs critique as it creates such stereotypes.

With a background in Painting and then Performance Art, my current artist moving image film practice brings together personal drawing, painting, photography and performance. Collage has become a major tool in this recent film practice, reinvigorating paintings and drawings that I produced nearly twenty years ago which are juxtaposed throughout my films with current photographic and performance for camera work. These films are often made with reusing / repurposing personal archival material and sound and moving image recordings. Things insist, in a spiral, nothing’s wasted. In this new exciting phase of my practice, I use all my capacities, from theatre to drawing to painting to language to the comic to the affective to the relational, to painting and performance and film. Excavating (fine art) work I made long ago and resuscitating it, I bring it back to life through the medium of film and moving image. Integrating my fine artwork into my film work, my films create an arresting palimpsest effect by recycling pieces from previous bodies of work and placing them within my current context to see how their meanings may now differ from when they were first conceived. Whilst what is presented through my films can be read as one person’s (my) narrative, so too can it easily be read as lots of different voices layered to talk about wider levels of experience with various references to cultural context that (any)one can relate to.