FQ Associate Editor Regina Longo talks with Rosalind Galt and Karl Schoonover about their book Queer Cinema in the World. From the introductory pages the co-authors plot a course for their readers by mapping the themes they will address throughout the book: counterpublics, covert and overt identities, and the legibility of sexuality and politics across and between different (social, political, economic, national, regional, linguistic) cultures and different cinematic cultures.
Laura Horak’s first monograph, Girls Will Be Boys: Cross-Dressed Women, Lesbians, and American Cinema, 1908–1934, is refreshing and invigorating. In a moment when pop culture is ablaze with stories of the “novelty” of transgender and gender nonconforming people, FQ Associate editor Regina Longo was delighted to sink into a thoroughly researched book on this subject that was ten years in the making. Read the column and then download the free chapter of the book offered here for FQ readers.
To judge by the critical enthusiasm with which the second season of Amazon Prime’s Transparent (2014–) series has been embraced, Jill Soloway not only has a big trans-affirmative hit on her hands but has succeeded in stimulating a lively conversation about queerness, trans politics, and television representation within the broader society.
At times it can seem that cinema, at least its American variant, inhabits a prolonged adolescence in which images of sex are at once omnipresent and puerile, in a “can’t look too close but can’t look away” manner. But why? Why should sex be any harder to credit in movies than murder?
From time to time Film Quarterly has published special features on Hollywood films that have had a major influence on public opinion. In 1979 the film was The Deer Hunter, in 1991 Thelma & Louise. If any such recent film has merited similar treatment, it is surely Ang Lee’s Brokeback Mountain.