导演瑞安·怀特（Ryan White）在“编码”中告诉J.C Leyendeck的酷儿历史
Director Ryan White on Telling J.C Leyendecker’s Queer History in ‘Coded’
导演瑞安·怀特（Ryan White）的新简短纪录片“编码”将于6月17日在Tribeca Festival举行全球首映。White（“ The The The The Case the Case the Case the Case the Case of 8”）深入插画家J.C. Leyendecker的历史，这是第一位最著名的广告艺术家之一20世纪的半年，他为周六晚上的帖子创建了数百个封面，并创建了箭领人。White讲述了Leyendecker对广告历史的影响以及他作为1900年代初期封闭的同性恋者的经历的几乎被遗忘的故事。但是，他的编码图像直接与同性恋社区交谈，并为今天的广告奠定了基础。，这是制作这部电影的重点。我没有听说过他是可耻的，但这就是推动力，以及为什么这些类型的故事ne埃德（Ed）被告知。我有我认识听说他的朋友和同事。但是，即使他们是艺术品收藏家或从事广告工作的人，也没人知道生活故事的一部分。没有人知道J.C. Leyendecker的兴衰。当我发现他是谁时，您必须回到1940年开始的“可见：在电视上”，第一个故事是陆军 - 麦卡锡听证会 - 我正在围绕这项研究，那就是那时我首先发现了这件事。我在纽约发现了这个时代，称为“潘西狂热”，与哈林文艺复兴时期重叠。但是，无论哪种方式，正是在纽约，柏林和巴黎等全球范围内的酷儿人中，这是一个巨大进步的时代，J.C. Leyendecker在那里上学。这是我第一次知道这个时代是在现代历史上有很多前进的进步。故事如何发展？想象一下纪录片来了，他们想制作纪录片Y与宝洁和赌博。他们的任务是“关于广告历史及其如何与酷儿问题相交的任何内容。”他们告诉我，在其他旧消费品公司的穹顶中，这位艺术家的旧广告似乎是超级同性恋。有象牙肥皂和吉列剃须刀的广告。当我查看这些广告时，我在想：“这些是世界上最同性恋的事情。”至少它们是按照今天的标准。这个人正在用这种编码语言运行的想法，这种编码有些公开，这是如此的思想 - 我问我。我问：“你对我说这个男人的故事吗？'我认为在他的生活和职业生涯中有一个非常令人兴奋的故事以及从那以后的广告以及他的遗产的涟漪效应。丹尼·麦登海（Danny Maddenhow）您是否找到了Jari Jones将其纳入现代时代？当我们遇到她时，我们正在寻找一种现代的方式莱恩德克（Leyendecker）的声音可能已经渗出了。贾里已经知道他是谁。这是弥合过去和现在之间差距的完美方式。这位女人打破了广告的障碍。然后是关于如何讲述他的故事 - 他从恩典的崛起和下降。LGBTQ社区仍然受到迫害。您是如何处理他故事的痛苦和创伤的？我认为我们甚至有Leyendecker的历史真是令人难以置信。那是这个故事的真正悲剧，对吗？这位才华横溢的艺术家对他的性行为在他的生活中扮演着什么角色，以至于他要求丈夫燃烧一切。我们对他的作品没有视觉记录，这一事实是他的一些艺术品甚至在今天生活的事实，这是一个奇迹。在他存在的摄影方面并不多，所以帮助帮助的关键声音是什么你要告诉这个故事？朱迪·卡特勒（Judy Cutler）写了这本书 - 他只有两本书，她写了第二本书 - 这是对他的生活，艺术和广告艺术的遗产的深入研究。她发现了存在的主要资源。有信件和访谈。但是这项研究确实很难，并且被埋葬是有原因的。我们在20年代在纽约找到了拖球的照片和镜头，并且有关于人们在纽约生活的人们如此丰富的镜头。想象我们的前任和祖先必须取得这种进步真是太神奇和美丽。但是，知道他们被撕开了，这更加悲惨。
Director Ryan White's new short documentary "Coded" will have its world premiere on June 17 at the Tribeca Festival.
White ("The Case Against 8") dives into the history of illustrator J.C. Leyendecker, one of the most prominent advertising artists of the first half of the 20th century, who created hundreds of covers for the Saturday Evening Post and created the Arrow Collar man.
White tells the nearly-forgotten story of Leyendecker's impact on advertising history and his experience as a closeted gay man in the early 1900s. However, his coded imagery spoke directly to the gay community and laid the foundation for LGBTQ representation in advertising today.
Where did the idea of telling J.C. Leyendecker’s story come from and did you know about him before this?
I had never heard of his story, which was the point of making this film. It’s shameful that I haven’t heard of him, but that is the driving force and why these types of stories need to be told.
I have people that I know friends and colleagues who had heard of him. But even if they were art collectors or people that worked in advertising, no one knew the life story part.
No one knew the rise and fall of J.C. Leyendecker. When I found out who he was – and you have to go back to “Visible: Out on Television,” which began in 1940, and the first story is the Army–McCarthy hearings- I was doing the research around that, and that’s when I first found out about it.
I discovered this era in New York, called “The Pansy Craze” which overlapped with the Harlem Renaissance. But either way, it was this era of immense progress for queer people in large worldwide cities like New York, Berlin and Paris, where J.C. Leyendecker went to school. It was the first time I knew there was this era before modern-day history where there was quite an amount of forward progress.
How did the story develop?
Imagine Documentaries came to me and they wanted to do a documentary with Procter and Gamble. The mandate was ‘anything about advertising history and how it intersects queer issues.’ They told me that in the vaults of other old consumer goods companies there were old ads from this artist that seemingly were super homoerotic. There were ads from Ivory soap and Gillette razors. When I was looking through these ads, I was thinking, ‘These are the gayest things in the world.’ At least they would be by today’s standards.
The idea that this man was operating in this coded language that's somewhat overt was so mind-blowing to me.
I asked, ‘Are you open to me telling me this man’s story?’ I thought there was a really exciting story to be told in his life and career and the rippling effects of that advertising ever since, and his legacy.
How did you find Jari Jones to thread it through to the modern era?
Jari Jones, the trans model, is the face of Calvin Klein. When we met her we were looking for a modern way in which Leyendecker’s voice might have percolated out. Jari already knew who he was. And it was this perfect way to bridge the gap between past and present. Here was this woman who is breaking so many barriers for advertising.
She’s a model, and it linked so perfectly back to Leyendecker’s model who was his lover and husband. Then it became about how to tell his story – his rise and fall from grace.
The LGBTQ community is still persecuted. How did you handle the pain and trauma of his story?
I think it’s incredible that we even have any history of Leyendecker. That’s the real tragedy of this story, right? This brilliant artist was so traumatized by what role his sexuality had played in his life that he asked his husband to burn everything. The fact that we have no visual record of his work, the fact that some of his artwork even lives on today, is a miracle.
There wasn't much in terms of photography that existed of him, so what was the key voice in helping you to tell this story?
Judy Cutler wrote the book on him – there are only two books on him and she wrote the second book – it’s deep dive research into his life, his art and his legacy on advertising art. She had found the primary sources that exist. There were letters and interviews.
But the research was really hard and it was buried for a reason. We found photos and footage of drag balls in New York in the ‘20s and there’s such rich footage about people living through this in New York. It’s amazing and beautiful to imagine that our foremothers and forefathers got to have that burst of progress. But it's all the more tragic to know that they had that ripped away.
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