{"id":78947,"date":"2026-09-22T07:22:40","date_gmt":"2026-09-22T05:22:40","guid":{"rendered":"https:\/\/a-desk.org\/?p=78947"},"modified":"2026-09-19T19:34:47","modified_gmt":"2026-09-19T17:34:47","slug":"flaming-ears","status":"publish","type":"post","link":"https:\/\/a-desk.org\/en\/magazine\/flaming-ears\/","title":{"rendered":"Flaming Ears"},"content":{"rendered":"<p style=\"font-weight: 400;\">1.<br \/>\nIn the heady late eighties and early nineties \u2013 the end of history, to some \u2013 as the Berlin Wall fell, the Soviet Union dissolved, and the Thatcher\u2013Reagan axis wreaked havoc on either side of the Atlantic, something queer and roguish was being born. The film scholar and critic B. Ruby Rich labelled this burgeoning thing New Queer Cinema, naming a constellation of largely but not exclusively North American and British films that orbited non-normative desire and its attendant sensibilities.<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_78947_1('footnote_plugin_reference_78947_1_1');\" onkeypress=\"footnote_moveToReference_78947_1('footnote_plugin_reference_78947_1_1');\" ><sup id=\"footnote_plugin_tooltip_78947_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_78947_1_1\" class=\"footnote_tooltip\">B. Ruby Rich, \u201cNew Queer Cinema,\u201d <em>Sight &amp; Sound<\/em>, vol. 2, no. 5, September 1992, pp. 30\u201334; reprinted in <em>New Queer Cinema: The Director\u2019s Cut<\/em> (Duke University Press, 2013).<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_78947_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_78947_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/p>\n<p style=\"font-weight: 400;\">2.<br \/>\n<span lang=\"EN-GB\">In Vienna, Ursula P\u00fcrrer, A. Hans Scheirl and Dietmar Schipek<\/span>, a renegade trio of filmmakers, were imagining a future. In their feature-length film <em>Rote Ohren fetzen durch Asche<\/em> (released in English as <em>Flaming Ears<\/em>) (1991\/1992), we are thrown into the chaos of the year 2700 in the city of Asche, a burnt-out dystopian metropolis. Constructed over two years and populated by a motley cast of friends, former lovers and fellow travellers, the imagined city and its denizens fused into a strange yet seductive chimera.<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_78947_1('footnote_plugin_reference_78947_1_2');\" onkeypress=\"footnote_moveToReference_78947_1('footnote_plugin_reference_78947_1_2');\" ><sup id=\"footnote_plugin_tooltip_78947_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_78947_1_2\" class=\"footnote_tooltip\">Remake. Frankfurter Frauen Film Tage, \u201c<em>Rote Ohren fetzen durch Asche \/ Flaming Ears<\/em>,\u201d restoration programme, 2019.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_78947_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_78947_1_2', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/p>\n<p style=\"font-weight: 400;\">3.<br \/>\nAs the story goes, P\u00fcrrer met Scheirl in Vienna in the mid-1980s and a m\u00e9nage \u00e0 trois between the two and a Super 8 camera ensued. The pair refer to their short films of this period, most of them staged in P\u00fcrrer\u2019s apartment, as \u201clesbian punk home movies\u201d.<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_78947_1('footnote_plugin_reference_78947_1_3');\" onkeypress=\"footnote_moveToReference_78947_1('footnote_plugin_reference_78947_1_3');\" ><sup id=\"footnote_plugin_tooltip_78947_1_3\" class=\"footnote_plugin_tooltip_text\">[3]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_78947_1_3\" class=\"footnote_tooltip\">\u201c<em>Flaming Ears<\/em> (1992),\u201d <em>366 Weird Movies<\/em>; see also Sixpackfilm, Ursula P\u00fcrrer filmography.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_78947_1_3').tooltip({ tip: '#footnote_plugin_tooltip_text_78947_1_3', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> It\u2019s easy to see how these early homespun experiments lay the groundwork for the queer configurations at the heart of <em>Flaming Ears<\/em>, which offers a distorted snapshot of Vienna\u2019s lesbian scene: an underground coterie of artists, musicians and assorted misfits.<\/p>\n<p style=\"font-weight: 400;\">4.<br \/>\nWith the film\u2019s English title, <em>Flaming Ears<\/em>, the trio chose a tauter, punchier appellation than the literal German-to-English translation, <em>Red Ears Rip Through Ashes<\/em>, would have afforded. Not to mention its added allure of summoning Jack Smith\u2019s low-budget, genre-defying Downtown cult classic <em>Flaming Creatures<\/em> (1963). And like the older film its title echoes, <em>Flaming Ears<\/em> has a taste for the antic and the perverse, one that could rankle audiences, including those who stormed out of screenings or called the film \u201cdisgusting\u201d.<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_78947_1('footnote_plugin_reference_78947_1_4');\" onkeypress=\"footnote_moveToReference_78947_1('footnote_plugin_reference_78947_1_4');\" ><sup id=\"footnote_plugin_tooltip_78947_1_4\" class=\"footnote_plugin_tooltip_text\">[4]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_78947_1_4\" class=\"footnote_tooltip\">Holly Willis, \u201cReckless, Greedy and Dangerous: Angela Scheirl Talks About <em>Flaming Ears<\/em>,\u201d <em>Filmmaker Magazine<\/em>, Winter 1993.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_78947_1_4').tooltip({ tip: '#footnote_plugin_tooltip_text_78947_1_4', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/p>\n<p style=\"font-weight: 400;\">5.<br \/>\nIn my many ill-fated attempts to write on this unruly piece of cinematic history, I kept returning to the circus as an archetype or form and to this bunch of co-conspirators as something like a travelling band of social outcasts and weirdos. It\u2019s a curious but apt analogue: a troupe that carries its world with it, costumes, props and sets alongside the bodies required to animate them. <em>Flaming Ears<\/em> was made in this spirit, and by these means, with P\u00fcrrer, Scheirl and Schipek sharing production duties, passing the camera among themselves, writing the script, and largely making the costumes, music, sets and special effects themselves.<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_78947_1('footnote_plugin_reference_78947_1_5');\" onkeypress=\"footnote_moveToReference_78947_1('footnote_plugin_reference_78947_1_5');\" ><sup id=\"footnote_plugin_tooltip_78947_1_5\" class=\"footnote_plugin_tooltip_text\">[5]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_78947_1_5\" class=\"footnote_tooltip\">Ibid.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_78947_1_5').tooltip({ tip: '#footnote_plugin_tooltip_text_78947_1_5', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> When Vienna \u2013 a nineteenth-century city in appearance <em>and<\/em> social mores \u2013 offered too little of the world our cineastes craved, they ran off to shoot in Hamburg and New York with costumes and props in tow.<\/p>\n<p><img decoding=\"async\" width=\"950\" height=\"675\" class=\"alignnone size-full wp-image-78970\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2026\/09\/Flaming-Ears_Rote_Ohren_fetzen_durch_Asche_Club_Sturmwind_im_Rucken_The_Tempest_at_Our_Backs.jpg\" alt=\"Flaming Ears, FILMSTILL\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2026\/09\/Flaming-Ears_Rote_Ohren_fetzen_durch_Asche_Club_Sturmwind_im_Rucken_The_Tempest_at_Our_Backs.jpg 950w, https:\/\/a-desk.org\/wp-content\/uploads\/2026\/09\/Flaming-Ears_Rote_Ohren_fetzen_durch_Asche_Club_Sturmwind_im_Rucken_The_Tempest_at_Our_Backs-563x400.jpg 563w, https:\/\/a-desk.org\/wp-content\/uploads\/2026\/09\/Flaming-Ears_Rote_Ohren_fetzen_durch_Asche_Club_Sturmwind_im_Rucken_The_Tempest_at_Our_Backs-768x546.jpg 768w\" sizes=\"(max-width: 950px) 100vw, 950px\" \/><\/p>\n<p style=\"font-weight: 400;\">6.<br \/>\nOn the third or fourth watch, I found myself frustrated by the near impossibility of following the plot, if <em>Flaming Ears<\/em> can be said to have anything of the sort. As one writer put it, <em>Flaming Ears<\/em> is \u201cless of a narrative film and more of a burlesque wandering through a lesbian wasteland.\u201d<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_78947_1('footnote_plugin_reference_78947_1_6');\" onkeypress=\"footnote_moveToReference_78947_1('footnote_plugin_reference_78947_1_6');\" ><sup id=\"footnote_plugin_tooltip_78947_1_6\" class=\"footnote_plugin_tooltip_text\">[6]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_78947_1_6\" class=\"footnote_tooltip\">BL Panther, \u201c<em>Flaming Ears<\/em> Is a Queer Dystopian Romp Through an Uncertain Future,\u201d <em>INTO<\/em>, 5 June 2023.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_78947_1_6').tooltip({ tip: '#footnote_plugin_tooltip_text_78947_1_6', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> If I were pressed to give a synopsis, this here would be as good as any: Spy is a comic-book artist whose printing press has been burned down by Volley, a pyromaniac performance artist, and sets out to exact revenge. Her pursuit leads her to the club where Volley performs, but Spy is beaten before she can get very far. Nun, Volley\u2019s extraterrestrial lover in blazing red leather, comes across the injured Spy and becomes enamoured of her. What follows is an increasingly unstable triangle of desire, jealousy, betrayal and violence.<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_78947_1('footnote_plugin_reference_78947_1_7');\" onkeypress=\"footnote_moveToReference_78947_1('footnote_plugin_reference_78947_1_7');\" ><sup id=\"footnote_plugin_tooltip_78947_1_7\" class=\"footnote_plugin_tooltip_text\">[7]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_78947_1_7\" class=\"footnote_tooltip\">Sixpackfilm, \u201c<em>Flaming Ears \/ Rote Ohren fetzen durch Asche<\/em>,\u201d film catalogue.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_78947_1_7').tooltip({ tip: '#footnote_plugin_tooltip_text_78947_1_7', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/p>\n<p style=\"font-weight: 400;\">7.<br \/>\nIn her eponymous 1992 <a href=\"https:\/\/www.bfi.org.uk\/sight-and-sound\/features\/new-queer-cinema\" target=\"_blank\" rel=\"noopener\"><em>Sight &amp; Sound<\/em> essay \u201cNew Queer Cinema\u201d<\/a>, B. Ruby Rich distilled something of the film\u2019s unruly theatricality when she described it as possessing \u201can atmosphere of cabaret, rubble, and revenge\u201d.<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_78947_1('footnote_plugin_reference_78947_1_8');\" onkeypress=\"footnote_moveToReference_78947_1('footnote_plugin_reference_78947_1_8');\" ><sup id=\"footnote_plugin_tooltip_78947_1_8\" class=\"footnote_plugin_tooltip_text\">[8]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_78947_1_8\" class=\"footnote_tooltip\">B. Ruby Rich, \u201cNew Queer Cinema,\u201d <em>Sight &amp; Sound<\/em>, vol. 2, no. 5, September 1992, pp. 30\u201334.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_78947_1_8').tooltip({ tip: '#footnote_plugin_tooltip_text_78947_1_8', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> The rough-and-ready sensuality of each scene takes precedence over any kind of plot or narrative. This is a cinema of scabrous textures and \u2013 perhaps most ingeniously \u2013 exaggerated sound, the two enlisted to emphasise the mise-en-sc\u00e8ne\u2019s material qualities.<\/p>\n<p style=\"font-weight: 400;\">8.<br \/>\nWhen Scheirl describes their and P\u00fcrrer\u2019s earlier Super 8 films as performances for camera, they highlight \u201cthe performance, the gesture, the posing.\u201d <em>Flaming Ears<\/em> expands this intimate arrangement for two into something for the multitude, a riotous chorus of bodies drawn from the filmmakers\u2019 lesbian compatriots, nowhere more vividly than in the nightclub scenes, where revellers grind, dance, pose, fuck \u2026<\/p>\n<p style=\"font-weight: 400;\">9.<br \/>\nThe imprint of P\u00fcrrer\u2019s, Scheirl\u2019s and Schipek\u2019s influences can be gleaned throughout the film \u2013 the DIY abrasiveness of punk and post-punk; VALIE EXPORT\u2019s confronting bodily provocations, Kenneth Anger\u2019s occult pageantry, the camp delirium of Jack Smith, Fassbinder\u2019s cruel melodrama and the baroque artifice of Ulrike Ottinger; and perhaps less predictably the choreographic prowess of Tsui Hark\u2019s and King Hu\u2019s martial arts cinema.<\/p>\n<p style=\"font-weight: 400;\">10.<br \/>\nPlace all this against a backdrop of conservative Viennese society, signalled in part by the Catholic symbols strewn across the film\u2019s eighty-four minutes. Witness the church tossed around and played with like an old prop. As the film&#8217;s introduction announces, Asche is a place where \u2013 like an inversion of Sodom and Gomorrah \u2013 it is \u201chighly unlikely for a pure soul to survive.\u201d Call it a <a href=\"https:\/\/a-desk.org\/en\/tema-del-mes\/magical-abnormalities\/\" target=\"_blank\" rel=\"noopener\">queer<\/a> eschatology, if you will. Or the lesbian carnivalesque. The order of things is upended in this topsy-turvy world of strange and lurid happenings.<\/p>\n<p><img decoding=\"async\" width=\"950\" height=\"675\" class=\"alignnone size-full wp-image-78973\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2026\/09\/Flaming-Ears_Rote_Ohren_fetzen_durch_Asche_Die_brennende_Stadt_The_burning_city_ASCHE.jpg\" alt=\"Flaming Ears, FILMSTILL\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2026\/09\/Flaming-Ears_Rote_Ohren_fetzen_durch_Asche_Die_brennende_Stadt_The_burning_city_ASCHE.jpg 950w, https:\/\/a-desk.org\/wp-content\/uploads\/2026\/09\/Flaming-Ears_Rote_Ohren_fetzen_durch_Asche_Die_brennende_Stadt_The_burning_city_ASCHE-563x400.jpg 563w, https:\/\/a-desk.org\/wp-content\/uploads\/2026\/09\/Flaming-Ears_Rote_Ohren_fetzen_durch_Asche_Die_brennende_Stadt_The_burning_city_ASCHE-768x546.jpg 768w\" sizes=\"(max-width: 950px) 100vw, 950px\" \/><\/p>\n<p style=\"font-weight: 400;\">11.<br \/>\nWhen a character falls against a backdrop of flames in an animated sequence somewhere in the film\u2019s first few minutes, is this a descent from prelapsarian grace into the fallen world? And if all has been flipped on its head, what sort of kinky pleasures await them?<\/p>\n<p style=\"font-weight: 400;\">12.<br \/>\nFrom the Latin <em>cadere<\/em>, \u201cto fall, sink, settle down, decline, perish\u201d is where we derive the word cadaver.<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_78947_1('footnote_plugin_reference_78947_1_9');\" onkeypress=\"footnote_moveToReference_78947_1('footnote_plugin_reference_78947_1_9');\" ><sup id=\"footnote_plugin_tooltip_78947_1_9\" class=\"footnote_plugin_tooltip_text\">[9]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_78947_1_9\" class=\"footnote_tooltip\"><em>Oxford English Dictionary<\/em>, s.v. \u201ccadaver.\u201d<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_78947_1_9').tooltip({ tip: '#footnote_plugin_tooltip_text_78947_1_9', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> But death here is hardly a serious affair: after all, the characters in <em>Flaming Ears<\/em> die more times than I can count before returning to life just as often.<\/p>\n<p style=\"font-weight: 400;\">13.<br \/>\nBy my fourth or fifth viewing of <em>Flaming Ears<\/em>, I\u2019m frustrated and more than a bit dispirited by my failure to make something of that opening flurry of nonsensical gestures, actions and wordy non-sequiturs. Then, a little further on, we are introduced to the city of Asche cast in miniature as a large maquette, like a beaming totality sent to relieve me of the barrage of fragmented sensations, forms and images. For a moment, the promise of relating parts to a greater whole is teased before we are dragged back into the chaos again.<\/p>\n<p style=\"font-weight: 400;\">14.<br \/>\nThe imagined metropolis of Asche is cast in miniature: an elaborate maquette or, as I\u2019ve come to think of it, a toy city whose inhabitants are dressed, posed, coupled, mutilated, killed, revived and rearranged capriciously as if by the invisible hand of some mischievous god-baby (or three). For the British paediatrician and psychoanalyst D. W. Winnicott, transitional objects such as dolls, blankets and teddy bears are \u201caffectionately cuddled\u201d and \u201cexcitedly loved and mutilated\u201d.<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_78947_1('footnote_plugin_reference_78947_1_10');\" onkeypress=\"footnote_moveToReference_78947_1('footnote_plugin_reference_78947_1_10');\" ><sup id=\"footnote_plugin_tooltip_78947_1_10\" class=\"footnote_plugin_tooltip_text\">[10]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_78947_1_10\" class=\"footnote_tooltip\">D. W. Winnicott, \u201cTransitional Objects and Transitional Phenomena,\u201d International Journal of Psycho-Analysis, vol. 34, 1953, pp. 89\u201397; reprinted in Playing and Reality (London: Tavistock,&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_78947_1('footnote_plugin_reference_78947_1_10');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_78947_1_10').tooltip({ tip: '#footnote_plugin_tooltip_text_78947_1_10', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> Through them, the child discovers the external world\u2019s capacity to withstand its affection and aggression, one punch, scratch and bite at a time \u2013 a game of \u201cfuck them up and find out\u201d, to riff on a now-familiar idiom.<\/p>\n<p style=\"font-weight: 400;\">15.<br \/>\nIs the aggression in <em>Flaming Ears<\/em> \u2013 playful, ersatz, and cartoonish, as it is \u2013 meant to impart on its viewers some kind of lesson? I strongly doubt it. If anything, this is a <a href=\"https:\/\/www.youtube.com\/watch?v=Xhsf1NdbeoE\" target=\"_blank\" rel=\"noopener\">film<\/a> that bristles at being stuffed into a parable, or the too-tidy cubbyhole of feminist filmmaking.<\/p>\n<p style=\"font-weight: 400;\">16.<br \/>\n<em>Flaming Ears<\/em> is an oddball, sci-fi production in which play, artifice and self-fashioning are <em>cris de coeur<\/em> against conformity. If the city outside cannot deliver the worlds you desire, it says, grab some friends and build your own. Just don\u2019t forget the matches.<\/p>\n<div style=\"max-width: 950px; width: 100%; margin: 0 auto;\"><iframe style=\"width: 100%; aspect-ratio: 16 \/ 9; border: 0;\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/Xhsf1NdbeoE\" allowfullscreen=\"allowfullscreen\"><br \/>\n<\/iframe><\/div>\n<p>&nbsp;<\/p>\n<p>(All images: P\u00fcrrer, U., Scheirl, A. H. y Schipek, D. (Directors). Film Stills from <em class=\"zhvwWe\" data-sfc-cp=\"\" data-sfc-root=\"ep\" data-complete=\"true\" data-copy-service-computed-style=\"font-family: &quot;Google Sans&quot;, &quot;Helvetica Neue&quot;, sans-serif; font-size: 16px; font-weight: 400; margin: 0px; text-decoration: none; border-bottom: 0px rgb(10, 10, 10);\">Rote Ohren fetzen durch Asche<\/em> <span class=\"iNqyIf\" data-sfc-cp=\"\" data-sfc-root=\"ep\" data-complete=\"true\" data-copy-service-computed-style=\"font-family: &quot;Google Sans&quot;, &quot;Helvetica Neue&quot;, sans-serif; font-size: 16px; font-weight: 400; margin: 0px; text-decoration: none; border-bottom: 0px rgb(10, 10, 10);\">(released in English as<em> Flaming Ears), <\/em>Austria, 1991\/1992<em>.<\/em>\u00a0Sixpackfilm. <a href=\"http:\/\/www.sixpackfilm.com\/en\/catalogue\/2160\/\" target=\"_blank\" rel=\"noopener\"><span class=\"iNqyIf\" data-sfc-cp=\"\" data-sfc-root=\"ep\" data-complete=\"true\" aria-owns=\"action-menu-parent-container\" data-copy-service-computed-style=\"font-family: &quot;Google Sans&quot;, &quot;Helvetica Neue&quot;, sans-serif; font-size: 16px; font-weight: 400; margin: 0px; text-decoration: none; border-bottom: 0px rgb(10, 10, 10);\">http:\/\/www.sixpackfilm.com\/en\/catalogue\/2160\/)<\/span><\/a><\/span><\/p>\n<div class=\"speaker-mute footnotes_reference_container\"> <div class=\"footnote_container_prepare\"><p><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_label pointer\" onclick=\"footnote_expand_collapse_reference_container_78947_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_78947_1();\">[<a id=\"footnote_reference_container_collapse_button_78947_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_78947_1\" style=\"\"><table class=\"footnotes_table footnote-reference-container\"><caption class=\"accessibility\">References<\/caption> <tbody> \r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_78947_1('footnote_plugin_tooltip_78947_1_1');\"><a id=\"footnote_plugin_reference_78947_1_1\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>1<\/a><\/th> <td class=\"footnote_plugin_text\">B. Ruby Rich, \u201cNew Queer Cinema,\u201d <em>Sight &amp; Sound<\/em>, vol. 2, no. 5, September 1992, pp. 30\u201334; reprinted in <em>New Queer Cinema: The Director\u2019s Cut<\/em> (Duke University Press, 2013).<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_78947_1('footnote_plugin_tooltip_78947_1_2');\"><a id=\"footnote_plugin_reference_78947_1_2\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>2<\/a><\/th> <td class=\"footnote_plugin_text\">Remake. Frankfurter Frauen Film Tage, \u201c<em>Rote Ohren fetzen durch Asche \/ Flaming Ears<\/em>,\u201d restoration programme, 2019.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_78947_1('footnote_plugin_tooltip_78947_1_3');\"><a id=\"footnote_plugin_reference_78947_1_3\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>3<\/a><\/th> <td class=\"footnote_plugin_text\">\u201c<em>Flaming Ears<\/em> (1992),\u201d <em>366 Weird Movies<\/em>; see also Sixpackfilm, Ursula P\u00fcrrer filmography.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_78947_1('footnote_plugin_tooltip_78947_1_4');\"><a id=\"footnote_plugin_reference_78947_1_4\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>4<\/a><\/th> <td class=\"footnote_plugin_text\">Holly Willis, \u201cReckless, Greedy and Dangerous: Angela Scheirl Talks About <em>Flaming Ears<\/em>,\u201d <em>Filmmaker Magazine<\/em>, Winter 1993.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_78947_1('footnote_plugin_tooltip_78947_1_5');\"><a id=\"footnote_plugin_reference_78947_1_5\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>5<\/a><\/th> <td class=\"footnote_plugin_text\">Ibid.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_78947_1('footnote_plugin_tooltip_78947_1_6');\"><a id=\"footnote_plugin_reference_78947_1_6\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>6<\/a><\/th> <td class=\"footnote_plugin_text\">BL Panther, \u201c<em>Flaming Ears<\/em> Is a Queer Dystopian Romp Through an Uncertain Future,\u201d <em>INTO<\/em>, 5 June 2023.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_78947_1('footnote_plugin_tooltip_78947_1_7');\"><a id=\"footnote_plugin_reference_78947_1_7\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>7<\/a><\/th> <td class=\"footnote_plugin_text\">Sixpackfilm, \u201c<em>Flaming Ears \/ Rote Ohren fetzen durch Asche<\/em>,\u201d film catalogue.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_78947_1('footnote_plugin_tooltip_78947_1_8');\"><a id=\"footnote_plugin_reference_78947_1_8\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>8<\/a><\/th> <td class=\"footnote_plugin_text\">B. Ruby Rich, \u201cNew Queer Cinema,\u201d <em>Sight &amp; Sound<\/em>, vol. 2, no. 5, September 1992, pp. 30\u201334.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_78947_1('footnote_plugin_tooltip_78947_1_9');\"><a id=\"footnote_plugin_reference_78947_1_9\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>9<\/a><\/th> <td class=\"footnote_plugin_text\"><em>Oxford English Dictionary<\/em>, s.v. \u201ccadaver.\u201d<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_78947_1('footnote_plugin_tooltip_78947_1_10');\"><a id=\"footnote_plugin_reference_78947_1_10\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>10<\/a><\/th> <td class=\"footnote_plugin_text\">D. W. Winnicott, \u201cTransitional Objects and Transitional Phenomena,\u201d <em>International Journal of Psycho-Analysis<\/em>, vol. 34, 1953, pp. 89\u201397; reprinted in <em>Playing and Reality<\/em> (London: Tavistock, 1971).<\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_78947_1() { jQuery('#footnote_references_container_78947_1').show(); jQuery('#footnote_reference_container_collapse_button_78947_1').text('\u2212'); } function footnote_collapse_reference_container_78947_1() { jQuery('#footnote_references_container_78947_1').hide(); jQuery('#footnote_reference_container_collapse_button_78947_1').text('+'); } function footnote_expand_collapse_reference_container_78947_1() { if (jQuery('#footnote_references_container_78947_1').is(':hidden')) { footnote_expand_reference_container_78947_1(); } else { footnote_collapse_reference_container_78947_1(); } } function footnote_moveToReference_78947_1(p_str_TargetID) { footnote_expand_reference_container_78947_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } } function footnote_moveToAnchor_78947_1(p_str_TargetID) { footnote_expand_reference_container_78947_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } }<\/script>","protected":false},"excerpt":{"rendered":"<p>1. In the heady late eighties and early nineties \u2013 the end of history, to some \u2013 as the Berlin Wall fell, the Soviet Union dissolved, and the Thatcher\u2013Reagan axis&#8230;<\/p>\n","protected":false},"author":3010,"featured_media":78976,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[9370],"tags":[6068,7154,5554],"coauthors":[9413],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Flaming Ears by Tendai Mutambu<\/title>\n<meta name=\"description\" content=\"Flaming Ears by Tendai Mutambu. 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