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Trans Masculine Embodiment and Disidentification Through Autobiography, Sex, and Play in James Diamond’S Jizz Envy (2014) and Skyler Braeden Fox’S Hello Titty (2015)

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Trans Masculine Embodiment and Disidentification Through Autobiography, Sex, and Play in James Diamond’S Jizz Envy (2014) and Skyler Braeden Fox’S Hello Titty (2015) Beyond the “Wrong Body” Narrative: Trans Masculine Embodiment and Disidentification Through Autobiography, Sex, and Play in James Diamond’s Jizz Envy (2014) and Skyler Braeden Fox’s Hello Titty (2015) Jay Bossé Thesis in The Department of Art History Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Art History) at Concordia University Montréal, Québec, Canada Unceded Kanien’kehá:ka Territory of Tiohtiá:ke August 2019 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Jay Bossé Entitled: Beyond the “Wrong Body” Narrative: Trans Masculine Embodiment and Disidentification Through Autobiography, Sex, and Play in James Diamond’s Jizz Envy (2014) and Skyler Braeden Fox’s Hello Titty (2015) and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Art History) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Chair Examiner Dr. Johanne Sloan Examiner Dr. John Potvin Thesis Supervisor Dr. Alice Ming Wai Jim Approved by Dr. Kristina Huneault, Graduate Program Director Dr. Rebecca Taylor Duclos, Dean of Faculty of Fine Arts Date ii Abstract Beyond the “Wrong Body” Narrative: Trans Masculine Embodiment and Disidentification Through Autobiography, Sex, and Play in James Diamond’s Jizz Envy (2014) and Skyler Braeden Fox’s Hello Titty (2015) Jay Bossé This thesis examines the experimental film and video art by two Canadian moving image artists: James Diamond’s video Jizz Envy (2014) and Skyler Braeden Fox’s short film Hello Titty (2015). It argues that these works create spaces that enable a recategorization and rethinking of trans embodiment as part of a larger gender spectrum of possibilities than those offered in the current diagnostic definition of trans identity practiced in the medical field and propagated in society at large. It presents how by centering transmasculine sexuality, these artworks disrupt the logic of dysphoria at the heart of diagnostic discourse which assumes that trans individuals are incapable of pre-operative sexual intimacy. The thesis critiques the current model of diagnosis focused on dysphoria and the concept of the wrong body. Using José Esteban Muñoz’s theory of disidentification, it presents how these works weave between different conceptualizations of embodiment that can be simultaneously aligned with diagnosis and contradictory to its implied structure of trans identity. Finally, through discussion on BDSM practices, sex, and play within the works, it concludes that Diamond and Fox’s works explore and expose the antagonistic relationship between dysphoria and trans embodiment that each artist experiences, simultaneously upholding the concept of the wrong body and critiquing it. iii Acknowledgements While this thesis was a personal project it is one that has been dreamed, influenced and guided by many individuals. It is just as much the fruit of my scholarly research as it is driven by conversation with the wonderful queers in my life. I would like to begin by thanking my community of friends, my partner Gabriel Dorais and our lovers, for patiently and even enthusiastically listening to me talking about my thesis without end for the past two years. As well, I would like to thank Victoria Tsonos for being a wonderful copy editor, support and on- call librarian. I would also like to thank individuals from the department of Art History at Concordia University. Thank you to Dr. Alice Ming Wai Jim for being such a strong guiding force as my supervisor and amazing support throughout this process. As a gracious reader and mentor within the department, Dr. John Potvin, with whom I have been blessed to have taken many courses over both my undergraduate and graduate studies. Both his work and teachings have greatly influenced me as an academic to see my queerness as a tool of critique and a place of power, something I hold within myself every day. I would also like to thank Dr. Nicola Pezolet, whose input and guidance in my work in his course helped shape this thesis. I would also like to thank Dr. Kristina Huneault, as Graduate Program Director, for her kindness and compassion which were so needed through the process of graduate school. I would like to thank fellow students of the Art History Graduate Program who exposed me to so many new and exciting theories and thoughts, as well as for having pushed me as an academic. Most notably I thank Daniel Santiago Sáenz for his guidance and support through the litany of applications and paperwork as part of graduate studies. Bettina Pérez-Martínez and Amanda Shore for their friendship, support and much needed fun over the past two years. I would like to recognize the role that Media Queer (Queer Media Database Project Canada Quebec) played in this research. For without this project from Dr. Thomas Waugh and the guidance of Jordan Arsenault, I might not have discovered the wonderful works of James Diamond and Skyler Braeden Fox, as well as many other talented artists and filmmakers. To this I would like to thank both artists James Diamond and Skyler Braeden Fox for creating the marvellous art works I had the honour of writing about. Without them and their works this thesis would truly not have been possible. I also thank them for their care and patience in completing the interviews and speaking with me. I would like to acknowledge the financial support I received within Faculty of Fine Arts from the Renata Hornstein Fellowship, The Ann Kerby Scholarship for Students with Disabilities, and Andrew Elvish Award for Gay and Lesbian Studies. Lastly, I would also like to thank the trans artists, scholars, and activists who have come before me, who have forged not only a field of study but a world that made this research possible. I thank my elders for their guidance, love, and strength. Their generosity of spirit in sharing their lives, their thoughts, and their queerness, all have deeply informed the person I am today. iv “The fragmentation, segmentation, multiplicity of the category trans*can only emerge within the optic that recognizes trans* as a capacious and fluid category rather than a diagnosis.” – Jack Halberstam, Trans*: A Quick and Quirky Account of Gender Variability v Table of Contents List of Figures vii Introduction 1 Methodology 6 Outline of Sections 11 SECTION ONE 12 Dysphoria, Authenticity and the Wrong Body 12 The Early History of Trans Medicalization 13 Gender Dysphoria, Diagnosis, and the Wrong Body in Hello Titty and Jizz Envy 16 SECTION TWO 21 Disidentification: Making Self in the Shadow of Diagnosis 21 Disidentification 22 Trans Autobiography as Disidentificatory Practice 24 SECTION THREE 30 Trans Embodiment in Sex Spaces: Other Ways of Seeing and Being 30 Sex as Trans Disidentificatory Practice 31 BDSM Practices, Sex Spaces and Play 36 Penetration and Beyond 37 Queering the Phallus 39 Ejaculation: Slipping Between Metaphor and Materiality 42 Conclusion 43 Figures 46 Appendix 53 Lyrics to James Diamond’s Jizz Envy (2019) 53 Bibliography 54 vi List of Figures Figures 1-10 Skyler Braeden Fox, Hello Titty, 0:15:20, colour, sound, digital. (Pink Label.TV, 2015). Figure 1. Still [Opening Monologue] (0:00:06) Figure 2. Still [Outside of Trailer] (0:00:42) Figure 3. Still [Inside of Trailer] (0:03:16) Figure 4. Still [Showboy Removing His Shirt] (0:04:00) Figure 5. Still [Dominatrix Getting Rough] (0:05:36) Figure 6. Still [Butler and Shy Guy] (0:06:43) Figure 7. Still [Sex Scene] (0:10:05) Figure 8. Still [Opening Lactation] (0:11:03) Figure 9. Still [Dominatrix Giving Butler Dog] (0:13:09) Figure 10. Still [Closing Scene] (0:14:13) Figures 11- 13 James Diamond, Jizz Envy, 0:02:00, colour, sound, digital. (Vtape, 2014). Figure 11. Still [James in Mirror] (0:00:54) Figure 12. Still [James and Tasha] (0:01:10) Figure 13. Still [Tasha and Fountain] (0:01:36) Figure 14 Skyler Braeden Fox, The 36 Year-Old Virgin, 0:29:51, colour, sound, digital. (Pink Label TV, 2017) Figure 14. Image from The 36 Year-Old Virgin [Skyler Braeden Fox and Bishop Black. Pink Laber TV, https://www.pinklabel.tv/on-demand/film/36-year-old-virgin/ (accessed May 22, 2019) vii Introduction This thesis examines the experimental film and video art by two Canadian moving image artists: James Diamond’s video Jizz Envy (2014) and Skyler Braeden Fox’s short film Hello Titty (2015). It argues these works create spaces that enable a recategorization and rethinking of trans embodiment as part of a larger gender spectrum of possibilities than those offered in the current diagnostic definition of trans identity practiced in the medical field and propagated in society in general. Medical determination through diagnosis of whether or not a patient is trans affects how one gains access to medical transition and care as a trans person. By centering transmasculine sexuality as the main subject, these artworks disrupt the logic of dysphoria at the heart of diagnostic discourse which assumes that trans individuals are incapable of pre-operative sexual intimacy. The thesis begins with a critique of the current model of diagnosis focused on dysphoria and the concept of the wrong body through an introduction of Diamond’s and Fox’s works. The critique then turns to the ways in which trans people have a disidentificatory relationship to diagnosis, weaving between different conceptualizations of embodiment that can be simultaneously aligned with diagnosis and contradictory to its implied structure of trans identity. Finally, the thesis provides a critical analysis of the works, elaborating on how they offer other ways of conceptualising trans embodiment through an in-depth discussion on BDSM practices, sex, and play within the works.
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