All posts tagged: Queer Cinema

The Liberal Sexual Subject: A Conversation with Damon R. Young

In 1998, Lauren Berlant and Michael Warner published an essay entitled “Sex in Public,” which now appears as the utopian vision of a bygone era. Drawing from Jürgen Habermas and Michel Foucault, Berlant and Warner called attention to the public mediation of sexuality in the United States and critiqued the heteronormative ideologies and institutions that hinged on a structural delineation of “personal life.” Where a hegemonic public sphere had been constituted by “a privatization of sex and the sexualization of private personhood,” so they argued, queer culture represented a world-making project involving the development of ephemeral, promiscuous, and often-criminal forms of intimacy—ones “that bear no necessary relation to domestic space, to kinship, to the couple form, to property, or to the nation.”

Queering the Globe

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.

Skirts and Pants and Everything In Between: Laura Horak on Girls Will Be Boys

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.

Park City Remix

When the Sundance Film Festival debuted in the 1980s, it entered a landscape dominated by a small corps of well-established A-list film festivals: New York, Chicago, San Francisco. A scrappy upstart, it quickly crashed the VIP room with the help of Robert Redford’s celebrity