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The Flourishing of Transgender Studies
BOOK REVIEW The Flourishing of Transgender Studies REGINA KUNZEL Transfeminist Perspectives in and beyond Transgender and Gender Studies Edited by A. Finn Enke Philadelphia: Temple University Press, 2012. 260 pp. ‘‘Transgender France’’ Edited by Todd W. Reeser Special issue, L’Espirit Createur 53, no. 1 (2013). 172 pp. ‘‘Race and Transgender’’ Edited by Matt Richardson and Leisa Meyer Special issue, Feminist Studies 37, no. 2 (2011). 147 pp. The Transgender Studies Reader 2 Edited by Susan Stryker and Aren Z. Aizura New York: Routledge, 2013. 694 pp. For the past decade or so, ‘‘emergent’’ has often appeared alongside ‘‘transgender studies’’ to describe a growing scholarly field. As of 2014, transgender studies can boast several conferences, a number of edited collections and thematic journal issues, courses in some college curricula, and—with this inaugural issue of TSQ: Transgender Studies Quarterly—an academic journal with a premier university press. But while the scholarly trope of emergence conjures the cutting edge, it can also be an infantilizing temporality that communicates (and con- tributes to) perpetual marginalization. An emergent field is always on the verge of becoming, but it may never arrive. The recent publication of several new edited collections and special issues of journals dedicated to transgender studies makes manifest the arrival of a vibrant, TSQ: Transgender Studies Quarterly * Volume 1, Numbers 1–2 * May 2014 285 DOI 10.1215/23289252-2399461 ª 2014 Duke University Press Downloaded from http://read.dukeupress.edu/tsq/article-pdf/1/1-2/285/485795/285.pdf by guest on 02 October 2021 286 TSQ * Transgender Studies Quarterly diverse, and flourishing interdisciplinary field. -
Fabulous! the Story of Queer Cinema
The Independent Film Channel Presents: An Orchard Films Production Fabulous! The Story of Queer Cinema Directed and Produced by Lisa Ades & Lesli Klainberg PUBLICITY AND ARTWORK, PLEASE CONTACT: Sophie Evans Manager, Consumer PR Kristen Andersen – PR Coordinator T: (917) 542-6336 T: (917) 542-6339 E: [email protected] E: [email protected] Synopsis: Fabulous! The Story of Queer Cinema explores the emergence of gay and lesbian films from the beginning of the gay rights movement in the 1960s to the “New Queer Cinema” of the 90s, the proliferation and influence of gay and lesbian films festivals, the discovery by the film business of the gay market; the explosion of gay images in the mainstream media and the current phenomenon of all things gay. The story of gay and lesbian cinema is closely related to the world surrounding it, and the use of popular culture is a backdrop against which the film examines important cultural, political and social moments- and movements that intersect with gay life. “Sex on the screen means something different for gay and lesbian audiences than for straight audiences because we’ve never been allowed to see it. If bodies that we can’t imagine being together are together, if women are rolling around in bed, if men are doing something more in the locker room than just simply taking a shower…all of these groundbreaking scenes of explicit sexuality have a meaning and a power that go beyond similar scenes for heterosexuals. It has to be there for audiences because for so long we were told ‘Oh no, they aren’t really gay because we have no proof that they ever did that’ there’s a sense that’s like – show me the money!” - B. -
Human Rights, Sexual Orientation and Gender Identity in the Commonwealth
Human Rights, Sexual Orientation and Gender Identity in The Commonwealth Struggles for Decriminalisation and Change Edited by Corinne Lennox and Matthew Waites Human Rights, Sexual Orientation and Gender Identity in The Commonwealth: Struggles for Decriminalisation and Change Edited by Corinne Lennox and Matthew Waites © Human Rights Consortium, Institute of Commonwealth Studies, School of Advanced Study, University of London, 2013 This book is published under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International (CC BY-NCND 4.0) license. More information regarding CC licenses is available at https:// creativecommons.org/licenses/ Available to download free at http://www.humanities-digital-library.org ISBN 978-1-912250-13-4 (2018 PDF edition) DOI 10.14296/518.9781912250134 Institute of Commonwealth Studies School of Advanced Study University of London Senate House Malet Street London WC1E 7HU Cover image: Activists at Pride in Entebbe, Uganda, August 2012. Photo © D. David Robinson 2013. Photo originally published in The Advocate (8 August 2012) with approval of Sexual Minorities Uganda (SMUG) and Freedom and Roam Uganda (FARUG). Approval renewed here from SMUG and FARUG, and PRIDE founder Kasha Jacqueline Nabagesera. Published with direct informed consent of the main pictured activist. Contents Abbreviations vii Contributors xi 1 Human rights, sexual orientation and gender identity in the Commonwealth: from history and law to developing activism and transnational dialogues 1 Corinne Lennox and Matthew Waites 2 -
Transgender Representation on American Narrative Television from 2004-2014
TRANSJACKING TELEVISION: TRANSGENDER REPRESENTATION ON AMERICAN NARRATIVE TELEVISION FROM 2004-2014 A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Kelly K. Ryan May 2021 Examining Committee Members: Jan Fernback, Advisory Chair, Media and Communication Nancy Morris, Media and Communication Fabienne Darling-Wolf, Media and Communication Ron Becker, External Member, Miami University ABSTRACT This study considers the case of representation of transgender people and issues on American fictional television from 2004 to 2014, a period which represents a steady surge in transgender television characters relative to what came before, and prefigures a more recent burgeoning of transgender characters since 2014. The study thus positions the period of analysis as an historical period in the changing representation of transgender characters. A discourse analysis is employed that not only assesses the way that transgender characters have been represented, but contextualizes American fictional television depictions of transgender people within the broader sociopolitical landscape in which those depictions have emerged and which they likely inform. Television representations and the social milieu in which they are situated are considered as parallel, mutually informing discourses, including the ways in which those representations have been engaged discursively through reviews, news coverage and, in some cases, blogs. ii To Desmond, Oonagh and Eamonn For everything. And to my mother, Elaine Keisling, Who would have read the whole thing. iii ACKNOWLEDGMENTS Throughout the research and writing of this dissertation, I have received a great deal of support and assistance, and therefore offer many thanks. To my Dissertation Chair, Jan Fernback, whose feedback on my writing and continued support and encouragement were invaluable to the completion of this project. -
A Photo Essay of Transgender Community in the United States
Sexuality Research & Social Policy Journal of NSRC http://nsrc.sfsu.edu December 2007 Vol. 4, No. 4 Momentum: A Photo Essay of the Transgender Community in the United States Over 30 Years, 1978–2007 Mariette Pathy Allen As a photographer, writer, advocate, and ally of the Figure 1. Vicky West (in center of photograph) at the transgender community, I have presented slide shows at hotel swimming pool, New Orleans, Louisiana, 1978. a variety of conferences during the past 30 years. I have varied the slide shows according to the audience and, to challenge myself, asked various questions about my art. What fresh visual connections can I make? How do my newest images relate to earlier series? Shall I focus on indi- vidual heroes and heroines—community leaders—or on dramatic historical events that galvanized people to rethink their lives and demand policy changes? Is it appro- priate to show body images and surgery? Should I focus on youth and relationships? What about speaking of my life as an artist and how it connects to the transgender community? Long before I knowingly met a transgender person, I pondered such questions as, Why are certain character traits assigned to men or to women? and Are these traits in different directions except for one person, Vicky West, immutable or culturally defined? My cultural anthropol- who focused straight back at me. As I peered through the ogy studies offered some theories, but it was not until camera lens, I had the feeling that I was looking at nei- 1978, when I visited New Orleans for Mardi Gras, that I ther a man nor a woman but at the essence of a human came face to face with the opportunity to explore gender being; right then, I decided that I must have this person identity issues through personal experience. -
Re-Imagining Queer Cinema Finding the Accent in Queer Filmmaking
Re-Imagining Queer Cinema Finding the Accent in Queer Filmmaking MA Programme in Film Studies Supervisor: Maryn C. Wilkinson Second reader: Marie-Aude Baronian MA thesis by: Yunus Emre Duyar Amsterdam, 26th June 2015 Word Count: 17,825 2 3 Table of Contents INTRODUCTION ...................................................................................................................................... 7 1. Queer Films and Beyond............................................................................................................. 14 1.1 Queer Culture and Film ............................................................................................................ 15 1.2 Gender Performativity and Film ............................................................................................. 17 1.3 Queer and the Rural .................................................................................................................. 20 2. Queer Filmmaking as Accented Cinema ................................................................................... 24 2.1. Accented Style ........................................................................................................................... 25 2.2. Mode of Production .................................................................................................................. 31 2.3. Chronotopes of Homeland and Life in Exile .......................................................................... 35 2.4. Journeying, Border Crossing and Identity Crossing............................................................ -
JACOLBY SATTERWHITE: Blessed Avenue by Osman Can Yerebakan April 4Th, 2018
JACOLBY SATTERWHITE: Blessed Avenue by Osman Can Yerebakan April 4th, 2018 GAVIN BROWN’S ENTERPRISE | MARCH, 10 – MAY 6, 2018 Jacolby Satterwhite, Blessed Avenue, 2018. 3D animation and video, 19:20. Edition of 5 with 2 APs. Courtesy Gavin Brown’s enterprise, New York/ Rome. On the third floor of an unassuming Chinatown building, a dark hallway leads to Blessed Avenue, Jacolby Satterwhite’s psychedelic quest into queer desire and memory, a twenty- minute digital animation created with Maya computer software. In order to do justice to the film’s bizarre rituals performed by Juliana Huxtable, Lourdes Leon Ciccone, and DeSe Escobar alongside Satterwhite, Gavin Brown’s enterprise orchestrated the gallery similar to an underground club, from glow-sticks occasionally available at the entrance to the pitch-dark atmosphere elevating the film’s visual and audial impact. The exhibition's titular piece runs on a large, two-sided screen, which emanates enough light to let visitors inspect a pop-up retail installation that displays merchandise complimenting the film. Including cameos by aforementioned “downtown figures” alongside many others, Blessed Avenue is a heady plunge into an otherworldly realm where computer aesthetics merge with an array of bodily postures from bondage routines to nocturnal choreographies. We watch Satterwhite and his friends act out the power dynamics embedded in S&M with the physical vigor of ballroom dancing. The back drop to the party is a digital universe Satterwhite illustrated based on sketches made by his late mother Patricia—a self-made artist who found solace in art as a respite from schizophrenia—created over the years with the hope of selling them on QVC. -
Transgender, and Queer History Is a Publication of the National Park Foundation and the National Park Service
Published online 2016 www.nps.gov/subjects/tellingallamericansstories/lgbtqthemestudy.htm LGBTQ America: A Theme Study of Lesbian, Gay, Bisexual, Transgender, and Queer History is a publication of the National Park Foundation and the National Park Service. We are very grateful for the generous support of the Gill Foundation, which has made this publication possible. The views and conclusions contained in the essays are those of the authors and should not be interpreted as representing the opinions or policies of the U.S. Government. Mention of trade names or commercial products does not constitute their endorsement by the U.S. Government. © 2016 National Park Foundation Washington, DC All rights reserved. No part of this publication may be reprinted or reproduced without permission from the publishers. Links (URLs) to websites referenced in this document were accurate at the time of publication. INCLUSIVE STORIES Although scholars of LGBTQ history have generally been inclusive of women, the working classes, and gender-nonconforming people, the narrative that is found in mainstream media and that many people think of when they think of LGBTQ history is overwhelmingly white, middle-class, male, and has been focused on urban communities. While these are important histories, they do not present a full picture of LGBTQ history. To include other communities, we asked the authors to look beyond the more well-known stories. Inclusion within each chapter, however, isn’t enough to describe the geographic, economic, legal, and other cultural factors that shaped these diverse histories. Therefore, we commissioned chapters providing broad historical contexts for two spirit, transgender, Latino/a, African American Pacific Islander, and bisexual communities. -
ENG 2300: Film Analysis Spring 2021 Syllabus
ENG 2300: Film Analysis Spring 2021 Syllabus Course Info Instructor Mandy Moore Sections 7308 (Class # 13395) and M159 (Class # 30594) Class Meetings T 5-6 (11:45 a.m. - 1:40 p.m.) in TUR 2336/online R 6 (12:50 p.m. - 1:40 p.m.) in MAT 0003/online Zoom: https://ufl.zoom.us/j/99186684382 (T) and https://ufl.zoom.us/j/99816474119 (R) Screening Period T E1-E3 (7:20 p.m. - 10:10 p.m.) Note: we will NOT meet during the screening period. Instead, you are expected to use this time to watch the films on your own. Class Website Canvas Instructor Info Pronouns she/her Please call me… Mandy (preferred) or Ms. Moore Contact me… Via Canvas message (to ensure privacy for FERPA reasons) Email [email protected] Office Hours via R 11:30 a.m. – 12:30 p.m. or by appointment Zoom Zoom: https://ufl.zoom.us/j/91242704224 COVID-19 Adjustments Due to the COVID-19 crisis, we will use HyFlex learning, with some students attending face- to-face (F2F) and others attending simultaneously via Zoom. Please remain flexible as we navigate this new technology and the shifting pandemic situation. F2F students: you are required to be officially “Cleared” on one.uf to return to campus before you may attend class. I have access to your Cleared/Not Cleared status on my one.uf roster and may also ask you to pull up that information on your phone. If you suspect you have been exposed to COVID, you should report for testing and observe an obligatory two-week quarantine period. -
Biomedicine and Makeover TV DISSERTATION
UNIVERSITY OF CALIFORNIA, IRVINE Bio-logics of Bodily Transformation: Biomedicine and Makeover TV DISSERTATION submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in Visual Studies by Corella Ann Di Fede Dissertation Committee: Associate Professor Lucas Hilderbrand, Chair Associate Professor Fatimah Tobing Rony Associate Professor Jennifer Terry Assistant Professor Allison Perlman 2016 © 2016 Corella Ann Di Fede DEDICATION To William Joseph Di Fede, My brother, best friend and the finest interlocutor I will ever have had. He was the twin of my own heart and mind, and I am not whole without him. My mother for her strength, courage and patience, and for her imagination and curiosity, My father whose sense of humor taught me to think critically and articulate myself with flare, And both of them for their support, generosity, open-mindedness, and the care they have taken in the world to live ethically, value every life equally, and instill that in their children. And, to my Texan and Sicilian ancestors for lending me a history full of wild, defiant spirits ii TABLE OF CONTENTS Page ACKNOWLEDGMENTS v CURRICULUM VITAE vi ABSTRACT OF THE DISSERTATION vii INTRODUCTION 1 Biopolitical Governance in Pop Culture: Neoliberalism, Biomedicine, and TV Format 3 Health: Medicine, Morality, Aesthetics and Political Futures 11 Biomedicalization, the Norm, and the Ideal Body 15 Consumer-patient, Privatization and Commercialization of Life 20 Television 24 Biomedicalized Regulation: Biopolitics and the Norm 26 Emerging -
Police Department Model Policy on Interactions with Transgender People
POLICE DEPARTMENT MODEL POLICY ON INTERACTIONS WITH TRANSGENDER PEOPLE National Center for TRANSGENDER EQUALITY This model policy document reflects national best policies and practices for police officers’ interactions with transgender people. The majority of these policies were originally developed by the National LGBT/HIV Criminal Justice Working Group along with a broader set of model policies addressing issues including police sexual misconduct and issues faced by people living with HIV. Specific areas of the original model policy were updated and modified for use as the foundation for NCTE’s publication “Failing to Protect and Serve: Police Department Policies Towards Transgender People,” which also evaluates the policies of the largest 25 police departments in the U.S. This publication contains model language for police department policies, as well as other criteria about policies that should be met for police departments that seek to implement best practices. The larger Working Group’s model policies developed by Andrea J. Ritchie and the National LGBTQ/HIV Criminal Justice Working Group, a coalition of nearly 40 organizations including NCTE, can be found in the appendices of the Community Oriented Policing Services (COPS) “Gender, Sexuality, and 21st Century Policing” report. While these are presented as model policies, they should be adapted by police departments in collaboration with local transgender leaders to better serve their community. For assistance in policy development and review, please contact Racial and Economic Justice Policy Advocate, Mateo De La Torre, at [email protected] or 202-804-6045, or [email protected] or 202-642-4542. NCTE does not charge for these services. -
WST 3015: Interdisciplinary Perspectives in Women's Studies
WST 3015: Interdisciplinary Perspectives in Women’s Studies Instructor: Dr. Jillian Hernandez E-mail: [email protected] Office Hours: Wednesdays 1:00-3:00pm and by appointment Office Location: Ustler Hall 304 Teaching Assistant: Kaylee Kagiavas E-mail: [email protected] Office Hours: Tuesdays, 12:00-3:00pm, Ustler 102A Office Location: Ustler Hall 102-A Class Meeting Times and Location: Tuesdays (period 4) 10:40-11:30am/Thursdays (periods 4-5) 10:40-12:35pm Little Hall 0113 Mickalene Thomas, A Moment’s Pleasure #2 (2008) In this introductory Women’s, Gender, and Sexuality studies course we will engage with history, theory, and a range of transdisciplinary scholarship to understand how gender, race, class, and other vectors of difference organize power and institutions in society. We will focus on how notions of human difference shape modes of policing and subjugating racialized and gendered people, and, conversely, how these groups take up difference as a rallying point of resistance. This course will provide conceptual tools for understanding contemporary social, cultural, and political debates and analyzing visual culture. 2 Through taking this class you will learn: • How gender organizes our world. • How gender and racial categories have been constructed historically. • How social constructs of race, gender, class, and sexuality produce marginalized populations and social inequalities. • How people marginalized by social formations of gender, race, class, and sexuality mobilize knowledge production, activism, art and cultural production to achieve social transformation. • How to compare, contrast, and evaluate the claims of feminist and queer thinkers from different periods and social locations. • How art and popular cultures are significant arenas where social formations of race, gender, and sexuality are contested.