. Such categories are themselves informed by a North-South directionality of knowledge about sexual difference, in which Northern lesbian, gay, bisexual, transsexual, and queer (LGBTQ) identity frameworks simultaneously shape Southern responses to queer
Hospitality and the Categorical Imperative of LGBTQ Asylum Seeking in Lebanon and Turkey
Postwar American Melodrama and the Crisis of Queer Juvenility
This essay analyzes the cinematic genre convention of the “sensation scene” as a vehicle for the representation of queer crises in American juvenility during the postwar era. Through popular cinema, post-WWII America organized and communicated concerns about the production of “fit” masculine and heterosexual juveniles who would be capable of carrying out the postwar expansion of American democratic and capitalist ideologies. The sensation scene was deployed by popular films to mark queer and racialized masculinities in an aesthetic system that mirrored institutional efforts to prevent “unfit” juveniles from accessing the benefits of full social and political participation. Today, the genre device continues to structure popular film representations of and common thinking about the relative value of young, male American lives.
Support for and Silencing of Queer Voice in Schools, Families, and Communities
Gilligan (1996) and other feminist relational psychologists have identified a “silencing” to which adolescent girls are vulnerable when they confront pressures to conform to patriarchal values and norms in various social contexts. As Machoian (2005) and other researchers have noted, the silencing of girls’ authentic voices at adolescence is associated with heightened risk for depression and for suicide, cutting, eating disorders, and other self-harming behaviors. This article is based on in-depth interviews that examined the ways in which lesbian, gay, bisexual, transgender, and queer-identifying youth might be subject to an analogous silencing of their authentic “queer voices.” Drawing on four case studies of male youth who participated in a larger qualitative research project, the article examines how schools, families, and communities both supported and silenced the authentic expression of their voices as gay- or queer-identifying boys. Since two of the case studies are based on interviews with participants at both late adolescence and young adulthood, the article also examines the effects of supportive factors over time and how they helped contribute to a purposeful, voiced sense of queer male identity as the participants reached manhood.
Black Trans and Queer Women’s Digital Media Production
creation of a touchstone for other trans women of color on their own journeys, and the healing that came through the process of writing her book. Mock’s narration of her own story marks a practice of Black queer and trans women’s media production that can
Mapping the City in John Rechy's City of Night
are public and private, queer and straight. Rechy's City functions metaphorically—it is the “sexual underground,” with illicit acts conspiratorially narrated by an anonymous hustler—yet, at the same time, the City is also composed of spaces that are
Karen Carpenter and the Body-Martyr in Queer Memory
” and mundane image, the Carpenters have left a legacy that has endured and been subject to constructions of memory and reproduction in unlikely, queer places—and this is especially true of the Karen Carpenter legacy in the years following her death in
Queerness, Pedophilia and Perversions in "L.I.E." and "Mysterious Skin"
Sarag E. S. Sinwell
Drawing on the work of Gayle Rubin, Jonathan Dollimore, and B. Ruby Rich, this paper will explore the ways in which Michael Cuesta’s L.I.E. (2000) and Gregg Araki’s Mysterious Skin (2004) portray adolescent male bodies and subjectivities within the context of the queer. Throughout these films, cinematic identification is primarily tied up with the stories of adolescent boys. However, the perverse acts in which they participate (both voluntarily and involuntarily), the inclusion of multiple points of view, and the focus on our own cultural constructions of childhood, adolescent and adult sexualities trace a network of nodes of identification. Thus, I argue that L.I.E. and Mysterious Skin queer identification by imagining a multiplicity, fluidity, and diversity of modes of identification that engage with both the normal and perverse natures of identity, sexuality, and subjectivity.
Boys, Bathrooms, Hypospadias, and Interphobic Violence
Celeste E. Orr
When analyzing bathrooms as both a litmus test for biological sex and volatile sites of gender policing, the discrimination that trans, genderqueer, nonbinary, queer, and gender-nonconforming people face are understandably central (see Cavanagh
juxtaposed with Nabil Ayouch's Much Loved (2015), a film that offers strong criticism of the underground sex trade in Morocco—which is particularly supported by rich Saudis. For the purposes of this article, I focus on the representations of queer male
As I enter the Centre for Contemporary Arts (CCA) in Glasgow for the opening night of the Scottish Queer International Film Festival (SQIFF), two giant pink poodles (actually festival volunteers dressed as characters from the festival