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Since the Weimar era, German cinema has played a leading role in the innovation of gay and lesbian cinema, with the tantalizing sexual illegibility and gender instability of German films of the 1920s anticipating the queer sensibilities of the 1990s. From such cross-dressing Weimar comedies as Viktor und Victoria to the transgender fantasies of Ulrike Ottinger, Monika Treut, and Hans Scheirl, this filmic tradition explores the unconventional erotic, its directors inventing a visual language that goes beyond the trivialization and sensationalism of mainstream representations of gays and lesbians. This cinema crosses the boundaries between such classifications as male and female, gay and bisexual, normal and pathological, insisting that such transgressions cannot be entirely tamed, regulated, or closeted. Previous scholarship, reading this national cinema as sociopolitical commentary, has tended to ignore what falls outside a realist, hetero-normative paradigm. In this book, the author aims to rectify this neglect by rewriting German cinematic history queerly. She reexamines the Nazi movie star Zarah Leander via her gay fandom, showing how this actress haunts the drag performance of femininity in the films of Rainer Werner Fassbinder. She argues not only for the persuasiveness of the gay underground in the New German Cinema but also for cinema's pivotal role in German gay liberation. Other topics include the queering of nationality in the films of Monika Treut and Rosa von Praunheim, the fetishistic medium of experimental filmmaking in the works of Michael Brynntrup and Matthias Müller, and the androgynous appeal of "dyke noir animation." In conclusion, The Queer German Cinema juxtaposes the voices of several German filmmakers as they reflect on their art in terms of a counter-politics.

Goodr OG Limited Edition Goodr Og Limited Edition Is It Queer In Here Or Is It Just Us?

We're here and we are very queer. Wear this ring with pride. This sterling silver ring from iLAH's Words of Wisdom collection can be easily stacked with other WoW rings or worn alone. Suitable for any gender because most of us have fingers. Made in Worcester, MA USA. Hand finished by either ilah, Jessica or Stephanie. iLAH recommends that you take off all of your jewelry when you sleep and exercise because if will increase the life of the piece. This piece is sterling silver that has been oxidized. It will tarnish, but can easily be cleaned with a silver polishing cloth. Do not use polishing creams or dips as these will remove the oxidation which is part of the design. All the metals used in our products are 100% recycled.

This sterling silver stacking ring is all about embracing queerness with style! Its sleek design and subtle "queer" engraving make a bold statement. Stack it up or wear it solo—it's your chance to show off your pride with a touch of sass!. This sterling silver "queer" stacking ring is part of iLAH's Words of Wisdom Collection. iLAH's rings are suitable for all genders as most of us have fingers. 2. 6mm wide. Made in Worcester, MA USA. Hand finished by either ilah, Jessica or Stephanie. iLAH recommends that you take off all of your jewelry when you sleep and exercise because if will increase the life of the piece. This piece is sterling silver that has been oxidized. It will tarnish, but can easily be cleaned with a silver polishing cloth. Do not use polishing creams or dips as these will remove the oxidation which is part of the design. All the metals used in our products are 100% recycled.

In the tradition of the Latin American testimonio, this is the story of Juan Rivera, a.k.a. Juanito Xtravaganza, a Latino runaway youth who ends up homeless in the streets of New York in the late 70s and becomes partner of the internationally famous 1980s Pop artist Keith Haring during some of the most frenetically productive years of his brief life, as told to the author and retold by him. A hybrid text - part testimonio, part linguistic and cultural analysis, and part art criticism - this is also a history of New York Latino neighborhoods during this period of devastating disinvestment and gentrification, as well as a personal, heart-felt meditation on the art of listening and the ethical limits of representing queer Latino lives.

Unread book in perfect condition.

Recounts William Lee's seduction of Eugene Allerton in the Mexico City of the 1940s and the romantic agonies he suffered

A brilliantly savage story, Queer People is, according to Budd Schulberg, a racy testament to an era as totally van­ished as the civilization of the Aztecs,” and if not the Hollywood novel is at least a truly seminal work.” Today’s readers will recognize in this long-forgotten Hollywood novel the seeds of three longer-lived ones, The Day of the Locust, What Makes Sammy Run?, and The Last Tycoon. They may also recognize Whitey, the hero of the Grahams’ novel, as a forerunner of F. Scott Fitzgerald’s Pat Hobby. The central figure in the novel is an archetypal newspaper reporter who drifts to Hollywood. Whitey discovers the social microcosm of the studio-people, and finds himself in his ele­ment. He penetrates strange places and encounters queer people the story conference, the three-day party, the titans and the moguls. When a murder ends his interlude he leaves Hollywood as casually as he discovered it. Originally published in 1930 Queer People was a scandalous roman à clef, irreverent to the industry,” and totally amoral qualities lacking in later Hol­lywood fiction. Hence it is at once an important social document and an ex­citing original work.

This book examines the queer film festival and opens the discussion on social enterprises and sustainable lesbian, gay, bisexual, transgender and intersex (LGBTI) organisations. 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. Pretty gay boys with chiselled abs are a staple feature, rather than underground experimental faire. Community arts events, such as these, are now a creative industry. While clearly having a social purpose, they must also concern themselves with the bottom line. For all the contradictory elements of its organisational growth, this conflict makes the queer film festival an integral site for analysis. This book takes a multidisciplinary approach in examining the queer film festival as a representative snapshot of the current state of queer cinema and community based film festivals. The book looks at queer film festivals in San Francisco, Hong Kong and Melbourne to argue for the importance of these institutions remaining as community events. 

Rooted in extensive archival research and personal interviews, A Queer Capital is the first history of LGBT life in the nation’s capital. Revealing a vibrant past that dates back more than 125 years, the book explores how lesbians, gay men, and bisexuals established spaces of their own before and after World War II, survived some of the harshest anti-gay campaigns in the U.S., and organized to demand equal treatment. Telling the stories of black and white gay communities and individuals, Genny Beemyn shows how race, gender, and class shaped the construction of gay social worlds in a racially segregated city. From the turn of the twentieth century through the 1980s, Beemyn explores the experiences of gay people in Washington, showing how they created their own communities, fought for their rights, and, in the process, helped to change the country. Combining rich personal stories with keen historical analysis, A Queer Capital provides insights into LGBT life, the history of Washington, D.C., and African American life and culture in the twentieth century.

Before the 1969 Stonewall Riots ushered in the contemporary gay liberation movement, overt representations of same-sex desire in American literature and the arts were few and far between. Even in the 1970s, when gay and lesbian cultures began to register on our national consciousness, such work was still quite rare. In the 1980s and 90s, however, all that changed. The Queer Renaissance puts a name to the unprecedented outpouring of creative work by openly lesbian and gay novelists, poets, and playwrights in the past two decades. This volume is one of the first to analyze critically this cultural awakening and is one of the only books to consider the work of gay male and lesbian writers together. Most importantly, The Queer Renaissance is the first book to consider how this wave of creative activity has worked in tandem with a flourishing of radical queer politics. The Queer Renaissance explores the work of such important figures as Audre Lorde, Edmund White, Randall Kenan, Gloria Anzalda, Tony Kushner, and Sarah Schulman to question the dichotomy between art and activism. In addition, The Queer Renaissance interrogates the ways queer theory deploys, intersects with, and contests contemporary theoretical movements such as cultural studies, feminist theory, African American theory, and Chicano/a theory.

Queer Theory and Social Change argues that there is a crisis within Queer theory over whether or not its theories can actually deliver change.Max Kirsch presents a challenging alternative to the current fascination with post-modern analyses of identity, culture, and difference. It emphasizes the need for a discussion of the importance of communities and the role of globalization on queer movements.

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This is one of the few books that I have read in recent years that actually inspired me as a gay man. There is little enough out there that offers us, gays and lesbians, a spiritual life. It is in itself a good introduction to Buddhism, though lacks a lesbian perspective. Still if you are going to read anything as a gay man on Buddhism, this has to be it. - From review.

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The Complete Comic Book Saga 1904-1905.This presents a long-hidden treasure from the Land of Oz. In 1904 Baum, wrote a story specifically for the Sunday color comic sections. These pages, illustrated by comic pioneer McDougall, ran for 36 weeks and feature some of the most innovative comic strip layouts of the era. In addition, the book features all 13 episodes of a second 1904-05 Oz Sunday feature, Scarecrow and Tinman, by famed Oz illustrator Denslow. This sumptuous volume also includes never reprinted Denslow comics from 1901-03, such as Billy Bounce (the first superhero of the comics) as well as beautiful comic features from McDougall and Oz illustrator John R. Neill. A high-quality production, full of rarely seen comic gems in their original size and colors.

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Offering a radical reassessment of 1930s British literature, this volume questions the temporal limits of the literary decade, and broadens the scope of queer literary studies to consider literary-historical responses to a variety of behaviours encompassed by the term ‘queer’ in its many senses. Whilst it is informed by the history of sexuality in twentieth-century Europe, it is also profoundly concerned with what Christopher Isherwood termed ‘the market value of the Odd.’ Drawing, for its methodology, on the work of Raymond Williams, it traces the impact of the Great War on the development of language, examining the use of ten ‘keywords’ in the prose of Christopher Isherwood, Evelyn Waugh and Patrick Hamilton, and that of their respective literary milieux, in order to establish how queer lives and modern sub-cultural identities were forged collaboratively within the fictional realm. By utilizing contemporary perspectives on performativity in conjunction with detailed close readings it repositions these authors as self-conscious agents actively producing their own queer masculinities through calculated acts of linguistic transgression.

This collection draws together contemporary research into queer theory and practices, as they intersect with new media and communication technologies. It provides a synthesis of critical debates in these fields followed by empirical analyses of current and historical internet activities. These include, among others, a study of changing leathersex identities as meeting spaces moved from bars to online chat rooms, an investigation of the dynamics of racial identity as social sites moved from text-based to visually-based media and the tensions between community and audience identities inherent in commercial affinity portals. The chapters investigate the relations between the technical, legal and industrial organization of online media and the queer practices that they facilitate. While scholarly and theoretically rigorous, its rich empirical detail makes Queer Online vital reading for activists and members of queer communities, in the academy and beyond.

Offering a model for meaningful dialogue between queer studies and environmental studies, Robert Azzarello's book traces a queer-environmental lineage in American Romantic and post-Romantic literature. Azzarello challenges the notion that reading environmental literature is unsatisfying in terms of aesthetics and proposes an understanding of literary environmentalism that is rich in poetic complexity. With the term "queer environmentality," Azzarello points towards a queer sensibility in the history of environmental literature to balance the dominant narrative that reading environmental literature is tantamount to witnessing a spectacular dramatization of heterosexual teleology. Azzarello's study treats four key figures in the American literary tradition: Henry David Thoreau, Herman Melville, Willa Cather, and Djuna Barnes. Each of these writers problematizes conventional notions of the strange matrix between the human, the natural, and the sexual. They brilliantly demonstrate the ways in which the queer project and the environmental project are always connected or, put another way, show that questions and politics of human sexuality are always entwined with those associated with the other-than-human world.