LGBTQ Film and Television

Yosef's critique of the construction of masculinities and queerness in Israeli cinema and culture also serves as a model for the investigation of the role of male sexuality within national culture.

Quinlan Miller reframes American television history by tracing a camp aesthetic and the common appearance of trans queer gender characters in both iconic and lesser known sitcoms throughout the 1950s and 1960s.

Explores works from the past fifty years in order to not only discuss how LGBTQIA+ characters are portrayed in American film, but also how these portrayals affect viewers.

Ethereal Queer offers a historically engaged, theoretically sophisticated, and often personal account of how TV representations of queer life have changed as the medium has evolved since the 1950s.

Laura Horak spent a decade scouring film archives worldwide, looking at American films made between 1908 and 1934, and what she discovered could revolutionize our understanding of gender roles in the early twentieth century. Questioning the assumption that cross-dressing women were automatically viewed as transgressive, she finds that these figures were popularly regarded as wholesome and regularly appeared onscreen in the 1910s, thus lending greater respectability to the fledgling film industry.

Explores cinematic representations of homosexuality and their significance in a wider cultural struggle in Italy involving society, cinema, and sexuality between the 1940s and 1970s.

Focusing on queer female diasporic subjectivity, Gopinath develops a theory of diaspora apart from the logic of blood, authenticity, and patrilineal descent that she argues invariably forms the core of conventional formulations. She examines South Asian diasporic literature, film, and music in order to suggest alternative ways of conceptualizing community and collectivity across disparate geographic locations.

Uses musicology and queer theory to uncover meaning and message in canonical American cinema. This study considers how queer readings are reinforced or nuanced through analysis of musical score.

In taking seriously minor European and North-American LGBT festivals which often only exist as traces within archival collections, this book revisits festival studies' methodological and theoretical apparatuses.

Coined in the early 1990s to describe a burgeoning film movement, 'New Queer Cinema' has turned the attention of film theorists, students and audiences to the proliferation of intelligent, stylish and daring work by lesbian and gay filmmakers within independent cinema, and to the proliferation of 'queer' images and themes within the mainstream. But what constituted New Queer Cinema then and now? And was it political gains, cultural momentum or market forces that determined its evolution?

Queer media is not one thing but an ensemble of at least four moving variables: history, gender and sexuality, geography, and medium. Addressing “history” not as dots on a progressive spectrum but as an uneven story of struggle, the writers in this volume stress that queer cinema did not appear miraculously at one moment but arrived on currents throughout the century-long history of the medium.

Pays homage to the award-winning 1991 documentary Paris Is Burning, which looks at the struggle of African-American and Latino participants in the 1980s New York drag ball scene.

This book explores the space of queer documentary through the modernist optic of Marcel Proust's 'lieu factice' (artificial place), a perspective that problematizes the location of place in a post-postmodern world with a dispersed sense of the real.

The book includes discussion of a wide variety of texts, including opera, classic film, genre fiction, documentary, musicals, literary fiction, low-budget horror, camp classics, and experimental texts, providing a comprehensive and interdisciplinary introduction to the myriad ways in which queer and adaptation overlap.

In this first-ever comprehensive examination of queerbaiting, fan studies scholar Joseph Brennan and his contributors examine cases that shed light on the sometimes exploitative industry practice of teasing homoerotic possibilities that, while hinted at, never materialize in the program narratives.

Offering a new theory of queer world cinema, Karl Schoonover and Rosalind Galt explore how it intersects with shifting ideals of global politics and cinema aesthetics to demonstrate its potential to disturb dominant modes of world making and to forge spaces of queer belonging.

Open access e-book. Examines the evasive depictions of sexuality in domestic and family-friendly sitcoms. Tison Pugh charts the history of increasing sexual depiction in this genre while also unpacking how sitcoms use sexuality as a source of power, as a kind of camouflage, and as a foundation for family building.

With over 220 events worldwide and some of the bigger budgets exceeding $1 million, the queer film festival has grown to become a staple event in all cosmopolitan cities' arts calendars. While activism was instrumental in establishing these festivals, the pink dollar has been a deciding factor in its financial sustainability.

Provides critical analysis of both mainstream and independent audiovisual works, many of them little known, produced in Mexico since the turn of the twenty-first century. In the book, author Paul Julian Smith aims to tease out the symbiotic relationship between culture and queerness in Mexico.

This book provides a cultural history of queer representations in Chinese-language film and media, negotiated by locally produced knowledge, local cultural agency, and lived histories.

Analyzing a range of sources, including sexology texts, early cinema, and African American literature, Siobhan B. Somerville argues that the emerging understanding of homosexuality depended on the context of the black/white "color line," the dominant system of racial distinction during this period.

Open access e-book. Offers the first comprehensive critical study of the recent profusion of European films and television addressing sexual migration and seeking to capture the lives and experiences of LGBTIQ+ migrants and refugees.

Examines the intersections of queerness, regionalism, and identity depicted in film, television, and other visual media about the South during the twentieth and twenty-first centuries.

In this issue of ALT, guest editor John Hawley has sampled the ongoing conversations, in both African writing and in the analysis of contemporary African cinema, to show how queer studies can break with old concepts and theories and point the way to new gender perspectives on literary and cinematic output.

Susan Potter offers a counter-history that reorients accepted views of lesbian representation and spectatorship in early cinema.

Examines queer visibility in reality television, which is arguably the most prolific space of gay, lesbian, transgender and otherwise queer media representation. It explores almost two decades of reality programming, from Big Brother to I Am Cait, American Idol to RuPaul's Drag Race, arguing that the specific conventions of reality TV--its intimacy and emotion, its investments in celebrity and the ideal of authenticity--have inextricably shaped the ways in which queer people have become visible in reality shows.

Through innovative readings of gay and lesbian films, Lee Wallace offers a provocative argument that queer experiments in domesticity have profoundly reshaped heterosexual marriage to such an extent that now all marriage is gay marriage.

Eliza Steinbock traces how cinema offers alternative ways to understand gender transitions through a specific aesthetics of change, thereby opening up new means to understand transgender ontologies and epistemologies.