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Wachowski: Sensing Transgender" class="work-thumbnail" src="https://attachments.academia-assets.com/60121970/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39934719/Lana_and_Lilly_Wachowski_Sensing_Transgender">Lana and Lilly Wachowski: Sensing Transgender</a></div><div class="wp-workCard_item"><span>Lana and Lilly Wachowski: Sensing Transgender</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Lana and Lilly Wachowski have redefined the technically and topically possible while joyfully def...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Lana and Lilly Wachowski have redefined the technically and topically possible while joyfully defying audience expectations. Visionary films like The Matrix trilogy and Cloud Atlas have made them the world's most influential transgender media producers, and their coming-out retroactively put trans* aesthetics at the very center of popular American culture.<br /><br />Cáel M. Keegan views the Wachowskis' films as an approach to trans* experience that maps a transgender journey and the promise we might learn "to sense beyond the limits of the given world." Keegan reveals how the filmmakers take up the relationship between identity and coding (be it computers or genes), inheritance and belonging, and how transgender becoming connects to a utopian vision of a post-racial order. Along the way, he theorizes a trans* aesthetic that explores the plasticity of cinema to create new social worlds, new temporalities, and new sensory inputs and outputs. Film comes to disrupt, rearrange, and evolve the cinematic exchange with the senses in the same manner that trans* disrupts, rearranges, and evolves discrete genders and sexes.<br /><br />"An admirable, focused study of the Wachowski sisters, best known for their postmillennial science fiction films, especially The Matrix franchise....makes a case for considering their work alongside the canon of new queer cinema, despite their exclusion from that corpus at the time of its formation. Highly recommended." --Choice<br /><br />"This captivating book does more than argue persuasively for the centrality of the Wachowskis' oeuvre in the recent history of cinema: it demonstrates how their embodied transgender experience is a central component of their aesthetic vision, and how transgender experience has become paradigmatic of visual semiotic practices in the increasingly ubiquitous digital media environment. Keegan offers lucid close readings of the entire Wachowski filmography, while also mapping generative points of overlap and intersection between cinema studies and trans studies. It makes a significant contribution to both fields."<br />--Susan Stryker, founding coeditor, Transgender Studies Quarterly <br /><br />"This book is a revelation! Leaving behind the more pedestrian methods of examining cinematic narratives of transgender lives, Cael Keegan goes one huge step beyond. With this book on Lana and Lilly Wachowski, we have in our hands the first book to consider the transgender content of the Wachowskis' massively influential cinematic practice. The trans* cinema of the Wachowskis is, according to Keegan, not just disruptive and wildly imaginative, although it is definitely that, it also represents an expansion of the popular imagination and a very different sense of life in and beyond the matrix. Keegan gives a masterful account of the Wachowskis' world and drops his readers down the rabbit hole of a trans* altered reality. Bon voyage."<br />--Jack Halberstam, author of Gaga Feminism: Sex, Gender, and the End of Normal</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f167a4a6dd159fef034b4ded4be9c443" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":60121970,"asset_id":39934719,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/60121970/download_file?st=MTczMzA1Mjk2MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39934719"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39934719"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39934719; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39934719]").text(description); $(".js-view-count[data-work-id=39934719]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 39934719; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='39934719']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 39934719, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f167a4a6dd159fef034b4ded4be9c443" } } $('.js-work-strip[data-work-id=39934719]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":39934719,"title":"Lana and Lilly Wachowski: Sensing Transgender","translated_title":"","metadata":{"abstract":"Lana and Lilly Wachowski have redefined the technically and topically possible while joyfully defying audience expectations. Visionary films like The Matrix trilogy and Cloud Atlas have made them the world's most influential transgender media producers, and their coming-out retroactively put trans* aesthetics at the very center of popular American culture.\n\nCáel M. Keegan views the Wachowskis' films as an approach to trans* experience that maps a transgender journey and the promise we might learn \"to sense beyond the limits of the given world.\" Keegan reveals how the filmmakers take up the relationship between identity and coding (be it computers or genes), inheritance and belonging, and how transgender becoming connects to a utopian vision of a post-racial order. Along the way, he theorizes a trans* aesthetic that explores the plasticity of cinema to create new social worlds, new temporalities, and new sensory inputs and outputs. Film comes to disrupt, rearrange, and evolve the cinematic exchange with the senses in the same manner that trans* disrupts, rearranges, and evolves discrete genders and sexes.\n\n\"An admirable, focused study of the Wachowski sisters, best known for their postmillennial science fiction films, especially The Matrix franchise....makes a case for considering their work alongside the canon of new queer cinema, despite their exclusion from that corpus at the time of its formation. Highly recommended.\" --Choice\n\n\"This captivating book does more than argue persuasively for the centrality of the Wachowskis' oeuvre in the recent history of cinema: it demonstrates how their embodied transgender experience is a central component of their aesthetic vision, and how transgender experience has become paradigmatic of visual semiotic practices in the increasingly ubiquitous digital media environment. Keegan offers lucid close readings of the entire Wachowski filmography, while also mapping generative points of overlap and intersection between cinema studies and trans studies. It makes a significant contribution to both fields.\"\n--Susan Stryker, founding coeditor, Transgender Studies Quarterly \n\n\"This book is a revelation! Leaving behind the more pedestrian methods of examining cinematic narratives of transgender lives, Cael Keegan goes one huge step beyond. With this book on Lana and Lilly Wachowski, we have in our hands the first book to consider the transgender content of the Wachowskis' massively influential cinematic practice. The trans* cinema of the Wachowskis is, according to Keegan, not just disruptive and wildly imaginative, although it is definitely that, it also represents an expansion of the popular imagination and a very different sense of life in and beyond the matrix. Keegan gives a masterful account of the Wachowskis' world and drops his readers down the rabbit hole of a trans* altered reality. Bon voyage.\"\n--Jack Halberstam, author of Gaga Feminism: Sex, Gender, and the End of Normal","publication_date":{"day":null,"month":null,"year":2018,"errors":{}},"publication_name":"Lana and Lilly Wachowski: Sensing Transgender"},"translated_abstract":"Lana and Lilly Wachowski have redefined the technically and topically possible while joyfully defying audience expectations. Visionary films like The Matrix trilogy and Cloud Atlas have made them the world's most influential transgender media producers, and their coming-out retroactively put trans* aesthetics at the very center of popular American culture.\n\nCáel M. Keegan views the Wachowskis' films as an approach to trans* experience that maps a transgender journey and the promise we might learn \"to sense beyond the limits of the given world.\" Keegan reveals how the filmmakers take up the relationship between identity and coding (be it computers or genes), inheritance and belonging, and how transgender becoming connects to a utopian vision of a post-racial order. Along the way, he theorizes a trans* aesthetic that explores the plasticity of cinema to create new social worlds, new temporalities, and new sensory inputs and outputs. Film comes to disrupt, rearrange, and evolve the cinematic exchange with the senses in the same manner that trans* disrupts, rearranges, and evolves discrete genders and sexes.\n\n\"An admirable, focused study of the Wachowski sisters, best known for their postmillennial science fiction films, especially The Matrix franchise....makes a case for considering their work alongside the canon of new queer cinema, despite their exclusion from that corpus at the time of its formation. Highly recommended.\" --Choice\n\n\"This captivating book does more than argue persuasively for the centrality of the Wachowskis' oeuvre in the recent history of cinema: it demonstrates how their embodied transgender experience is a central component of their aesthetic vision, and how transgender experience has become paradigmatic of visual semiotic practices in the increasingly ubiquitous digital media environment. Keegan offers lucid close readings of the entire Wachowski filmography, while also mapping generative points of overlap and intersection between cinema studies and trans studies. It makes a significant contribution to both fields.\"\n--Susan Stryker, founding coeditor, Transgender Studies Quarterly \n\n\"This book is a revelation! Leaving behind the more pedestrian methods of examining cinematic narratives of transgender lives, Cael Keegan goes one huge step beyond. With this book on Lana and Lilly Wachowski, we have in our hands the first book to consider the transgender content of the Wachowskis' massively influential cinematic practice. The trans* cinema of the Wachowskis is, according to Keegan, not just disruptive and wildly imaginative, although it is definitely that, it also represents an expansion of the popular imagination and a very different sense of life in and beyond the matrix. Keegan gives a masterful account of the Wachowskis' world and drops his readers down the rabbit hole of a trans* altered reality. Bon voyage.\"\n--Jack Halberstam, author of Gaga Feminism: Sex, Gender, and the End of Normal","internal_url":"https://www.academia.edu/39934719/Lana_and_Lilly_Wachowski_Sensing_Transgender","translated_internal_url":"","created_at":"2019-07-26T04:15:20.938-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":7876332,"coauthors_can_edit":true,"document_type":"book","co_author_tags":[],"downloadable_attachments":[{"id":60121970,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/60121970/thumbnails/1.jpg","file_name":"LLcover20190726-17340-1xftyaw.pdf","download_url":"https://www.academia.edu/attachments/60121970/download_file?st=MTczMzA1Mjk2MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Lana_and_Lilly_Wachowski_Sensing_Transge.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/60121970/LLcover20190726-17340-1xftyaw-libre.pdf?1564139791=\u0026response-content-disposition=attachment%3B+filename%3DLana_and_Lilly_Wachowski_Sensing_Transge.pdf\u0026Expires=1732920718\u0026Signature=YFQrwXGJf0w1fqVT~oYU4--vFoW~hJYmD9nk1-t-1qDxWCgYxeZvL6FipdTiGnzekn~6tNVGIkJB9RqLMbQNRsveKPY-4CVHXld7WMnF3fQGbSvpgoaBgrktQL5V7PaID6hkAkVa6ipp77FsFOvGIkk~ztfTbxmpl9oFpEp2-qlPAXsk5PFXlt1DZX58MaQdDEwXIIhO5X6986Ek3iQIyXeiB2AGwAMXaLbQ0zvY1TcEnShJ12CZvif0mNrx6YRxTQybGRjX2vOcKLY3rfjbpRgBFBfUdg6k5tvK4ylM~ZnqRFOk1dYFlxQG~WHa9g0~H5KG8KHoIuKHfQ8OKmz4iQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Lana_and_Lilly_Wachowski_Sensing_Transgender","translated_slug":"","page_count":1,"language":"en","content_type":"Work","owner":{"id":7876332,"first_name":"Cáel","middle_initials":"M","last_name":"Keegan","page_name":"CáelKeegan","domain_name":"concordia","created_at":"2013-12-29T01:00:19.390-08:00","display_name":"Cáel M Keegan","url":"https://concordia.academia.edu/C%C3%A1elKeegan"},"attachments":[{"id":60121970,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/60121970/thumbnails/1.jpg","file_name":"LLcover20190726-17340-1xftyaw.pdf","download_url":"https://www.academia.edu/attachments/60121970/download_file?st=MTczMzA1Mjk2MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Lana_and_Lilly_Wachowski_Sensing_Transge.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/60121970/LLcover20190726-17340-1xftyaw-libre.pdf?1564139791=\u0026response-content-disposition=attachment%3B+filename%3DLana_and_Lilly_Wachowski_Sensing_Transge.pdf\u0026Expires=1732920718\u0026Signature=YFQrwXGJf0w1fqVT~oYU4--vFoW~hJYmD9nk1-t-1qDxWCgYxeZvL6FipdTiGnzekn~6tNVGIkJB9RqLMbQNRsveKPY-4CVHXld7WMnF3fQGbSvpgoaBgrktQL5V7PaID6hkAkVa6ipp77FsFOvGIkk~ztfTbxmpl9oFpEp2-qlPAXsk5PFXlt1DZX58MaQdDEwXIIhO5X6986Ek3iQIyXeiB2AGwAMXaLbQ0zvY1TcEnShJ12CZvif0mNrx6YRxTQybGRjX2vOcKLY3rfjbpRgBFBfUdg6k5tvK4ylM~ZnqRFOk1dYFlxQG~WHa9g0~H5KG8KHoIuKHfQ8OKmz4iQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies"},{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies"},{"id":699,"name":"Queer Studies","url":"https://www.academia.edu/Documents/in/Queer_Studies"},{"id":2624,"name":"Transgender Studies","url":"https://www.academia.edu/Documents/in/Transgender_Studies"},{"id":3114,"name":"Queer Theory","url":"https://www.academia.edu/Documents/in/Queer_Theory"},{"id":4982,"name":"Digital Cinema","url":"https://www.academia.edu/Documents/in/Digital_Cinema"},{"id":8694,"name":"Science Fiction","url":"https://www.academia.edu/Documents/in/Science_Fiction"},{"id":12093,"name":"Theories of Gender and Transgender","url":"https://www.academia.edu/Documents/in/Theories_of_Gender_and_Transgender"},{"id":19258,"name":"Cinema","url":"https://www.academia.edu/Documents/in/Cinema"},{"id":26798,"name":"Transgender","url":"https://www.academia.edu/Documents/in/Transgender"},{"id":52745,"name":"Cinema Studies","url":"https://www.academia.edu/Documents/in/Cinema_Studies"},{"id":342026,"name":"The Matrix Trilogy","url":"https://www.academia.edu/Documents/in/The_Matrix_Trilogy"},{"id":483926,"name":"\"the Matrix\", Philosophy of Film","url":"https://www.academia.edu/Documents/in/_the_Matrix_Philosophy_of_Film"},{"id":513636,"name":"Matrix (film by the Wachowski brothers)","url":"https://www.academia.edu/Documents/in/Matrix_film_by_the_Wachowski_brothers_"}],"urls":[{"id":8819674,"url":"https://www.press.uillinois.edu/books/catalog/32ytd5qh9780252042126.html"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="14737097"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/14737097/Lana_and_Lilly_Wachowski_Sensing_Transgender_Introduction"><img alt="Research paper thumbnail of Lana and Lilly Wachowski: Sensing Transgender Introduction" class="work-thumbnail" src="https://attachments.academia-assets.com/58210164/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/14737097/Lana_and_Lilly_Wachowski_Sensing_Transgender_Introduction">Lana and Lilly Wachowski: Sensing Transgender Introduction</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Lana and Lilly Wachowski have redefined the technically and topically possible while joyfully def...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Lana and Lilly Wachowski have redefined the technically and topically possible while joyfully defying audience expectations. Visionary films like The Matrix trilogy and Cloud Atlas have made them the world's most influential transgender media producers, and their coming out retroactively put trans* aesthetics at the very center of popular American culture. Cáel M. Keegan views the Wachowskis films as an approach to trans* experience that maps a transgender journey and the promise we might learn "to sense beyond the limits of the given world." Keegan reveals how the filmmakers take up the relationship between identity and coding (be it computers or genes), inheritance and belonging, and how transgender becoming connects to a utopian vision of a post-racial order. Along the way, he theorizes a trans* aesthetic that explores the plasticity of cinema to create new social worlds, new temporalities, and new sensory inputs and outputs. Film comes to disrupt, rearrange, and evolve the cinematic exchange with the senses in the same manner that trans* disrupts, rearranges, and evolves discrete genders and sexes.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="485b392ddd9b4a17af990a52b2833182" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58210164,"asset_id":14737097,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58210164/download_file?st=MTczMzA1Mjk2MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="14737097"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="14737097"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 14737097; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=14737097]").text(description); $(".js-view-count[data-work-id=14737097]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 14737097; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='14737097']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 14737097, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "485b392ddd9b4a17af990a52b2833182" } } $('.js-work-strip[data-work-id=14737097]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":14737097,"title":"Lana and Lilly Wachowski: Sensing Transgender Introduction","translated_title":"","metadata":{"doi":"10.5406/j.ctv80c9bd","abstract":"Lana and Lilly Wachowski have redefined the technically and topically possible while joyfully defying audience expectations. Visionary films like The Matrix trilogy and Cloud Atlas have made them the world's most influential transgender media producers, and their coming out retroactively put trans* aesthetics at the very center of popular American culture. Cáel M. Keegan views the Wachowskis films as an approach to trans* experience that maps a transgender journey and the promise we might learn \"to sense beyond the limits of the given world.\" Keegan reveals how the filmmakers take up the relationship between identity and coding (be it computers or genes), inheritance and belonging, and how transgender becoming connects to a utopian vision of a post-racial order. Along the way, he theorizes a trans* aesthetic that explores the plasticity of cinema to create new social worlds, new temporalities, and new sensory inputs and outputs. 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Keegan views the Wachowskis films as an approach to trans* experience that maps a transgender journey and the promise we might learn \"to sense beyond the limits of the given world.\" Keegan reveals how the filmmakers take up the relationship between identity and coding (be it computers or genes), inheritance and belonging, and how transgender becoming connects to a utopian vision of a post-racial order. Along the way, he theorizes a trans* aesthetic that explores the plasticity of cinema to create new social worlds, new temporalities, and new sensory inputs and outputs. 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$a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Articles" id="Articles"><h3 class="profile--tab_heading_container">Articles by Cáel M Keegan</h3></div><div class="js-work-strip profile--work_container" data-work-id="76960023"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/76960023/On_the_Necessity_of_Bad_Trans_Objects"><img alt="Research paper thumbnail of On the Necessity of Bad Trans Objects" class="work-thumbnail" src="https://attachments.academia-assets.com/84473651/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/76960023/On_the_Necessity_of_Bad_Trans_Objects">On the Necessity of Bad Trans Objects</a></div><div class="wp-workCard_item"><span>Film Quarterly</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Despite newly affirming images of transgender people proliferating across US visual media, there ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Despite newly affirming images of transgender people proliferating across US visual media, there has been a concomitant rise in anti-transgender attitudes, transphobic legislation, and trans antagonistic violence. The assumption that more and better images of transgender people are key to achieving transgender equality strains under the weight of an emerging contradiction: “good” representation does not necessarily mean reduced social or political antagonism for transgender people. Rather, the emergence of “good” (i.e. marketable) trans media objects illustrates how the most politically challenging aspects of transgender identification are increasingly forced outside the horizon of representability. This essay turns away from “good” transgender representations and toward an archive of recently canceled “bad” transgender media objects, offering new assessments of their unexpected value. Claiming badness as a trans property that must be embraced to achieve sex and gender liberation, it defends bad trans objects as unrecognized sources of transformative potential.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="983c5b8c654b4f0f4613471c486f6c39" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":84473651,"asset_id":76960023,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/84473651/download_file?st=MTczMzA1Mjk2MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="76960023"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="76960023"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 76960023; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=76960023]").text(description); $(".js-view-count[data-work-id=76960023]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 76960023; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='76960023']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 76960023, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "983c5b8c654b4f0f4613471c486f6c39" } } $('.js-work-strip[data-work-id=76960023]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":76960023,"title":"On the Necessity of Bad Trans Objects","translated_title":"","metadata":{"doi":"10.1525/fq.2022.75.3.26","abstract":"Despite newly affirming images of transgender people proliferating across US visual media, there has been a concomitant rise in anti-transgender attitudes, transphobic legislation, and trans antagonistic violence. The assumption that more and better images of transgender people are key to achieving transgender equality strains under the weight of an emerging contradiction: “good” representation does not necessarily mean reduced social or political antagonism for transgender people. Rather, the emergence of “good” (i.e. marketable) trans media objects illustrates how the most politically challenging aspects of transgender identification are increasingly forced outside the horizon of representability. This essay turns away from “good” transgender representations and toward an archive of recently canceled “bad” transgender media objects, offering new assessments of their unexpected value. Claiming badness as a trans property that must be embraced to achieve sex and gender liberation, it defends bad trans objects as unrecognized sources of transformative potential.","publication_date":{"day":null,"month":null,"year":2022,"errors":{}},"publication_name":"Film Quarterly"},"translated_abstract":"Despite newly affirming images of transgender people proliferating across US visual media, there has been a concomitant rise in anti-transgender attitudes, transphobic legislation, and trans antagonistic violence. The assumption that more and better images of transgender people are key to achieving transgender equality strains under the weight of an emerging contradiction: “good” representation does not necessarily mean reduced social or political antagonism for transgender people. Rather, the emergence of “good” (i.e. marketable) trans media objects illustrates how the most politically challenging aspects of transgender identification are increasingly forced outside the horizon of representability. This essay turns away from “good” transgender representations and toward an archive of recently canceled “bad” transgender media objects, offering new assessments of their unexpected value. Claiming badness as a trans property that must be embraced to achieve sex and gender liberation, it defends bad trans objects as unrecognized sources of transformative potential.","internal_url":"https://www.academia.edu/76960023/On_the_Necessity_of_Bad_Trans_Objects","translated_internal_url":"","created_at":"2022-04-19T07:30:23.964-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":7876332,"coauthors_can_edit":true,"document_type":"book","co_author_tags":[],"downloadable_attachments":[{"id":84473651,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/84473651/thumbnails/1.jpg","file_name":"FQ7503_03_Keegan.pdf","download_url":"https://www.academia.edu/attachments/84473651/download_file?st=MTczMzA1Mjk2MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"On_the_Necessity_of_Bad_Trans_Objects.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/84473651/FQ7503_03_Keegan-libre.pdf?1650378910=\u0026response-content-disposition=attachment%3B+filename%3DOn_the_Necessity_of_Bad_Trans_Objects.pdf\u0026Expires=1733029344\u0026Signature=W8CHV8iyyXQUOd9~XkxciPVsUDhkM4lZ6PbHZz4Y7oOPDMO0~e4UwyRIj7YQfmgwXdU1iEFuC5Q7-OYqlpXYD7pylC-sZWiTQw2AUDM4zy6lnqMmjQXoDP4kIuQkyV7mcxZQZIa2MBxrQHYyQd-nKVQEiPfp-rhNDdFKGlhQdBrZDyVGoGe2mDyVeDlEsb815bgOiSZfO3ixC~3ggh6PuBIXx04njSaaIeMOg5fRt7LZPzLfutfNFc~eQZJTZqbq6AiAKBrfeidmR22dfKDs8WAXEyzPfNNwjZOs0iQriFxLQVpRZi7lZDTkz5AwqemZt2J0b0vl6SWNQQmhVyuJ3A__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"On_the_Necessity_of_Bad_Trans_Objects","translated_slug":"","page_count":12,"language":"en","content_type":"Work","owner":{"id":7876332,"first_name":"Cáel","middle_initials":"M","last_name":"Keegan","page_name":"CáelKeegan","domain_name":"concordia","created_at":"2013-12-29T01:00:19.390-08:00","display_name":"Cáel M Keegan","url":"https://concordia.academia.edu/C%C3%A1elKeegan"},"attachments":[{"id":84473651,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/84473651/thumbnails/1.jpg","file_name":"FQ7503_03_Keegan.pdf","download_url":"https://www.academia.edu/attachments/84473651/download_file?st=MTczMzA1Mjk2MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"On_the_Necessity_of_Bad_Trans_Objects.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/84473651/FQ7503_03_Keegan-libre.pdf?1650378910=\u0026response-content-disposition=attachment%3B+filename%3DOn_the_Necessity_of_Bad_Trans_Objects.pdf\u0026Expires=1733029344\u0026Signature=W8CHV8iyyXQUOd9~XkxciPVsUDhkM4lZ6PbHZz4Y7oOPDMO0~e4UwyRIj7YQfmgwXdU1iEFuC5Q7-OYqlpXYD7pylC-sZWiTQw2AUDM4zy6lnqMmjQXoDP4kIuQkyV7mcxZQZIa2MBxrQHYyQd-nKVQEiPfp-rhNDdFKGlhQdBrZDyVGoGe2mDyVeDlEsb815bgOiSZfO3ixC~3ggh6PuBIXx04njSaaIeMOg5fRt7LZPzLfutfNFc~eQZJTZqbq6AiAKBrfeidmR22dfKDs8WAXEyzPfNNwjZOs0iQriFxLQVpRZi7lZDTkz5AwqemZt2J0b0vl6SWNQQmhVyuJ3A__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics"},{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies"},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies"},{"id":2624,"name":"Transgender Studies","url":"https://www.academia.edu/Documents/in/Transgender_Studies"},{"id":12093,"name":"Theories of Gender and Transgender","url":"https://www.academia.edu/Documents/in/Theories_of_Gender_and_Transgender"},{"id":28374,"name":"Visual and Cultural Studies","url":"https://www.academia.edu/Documents/in/Visual_and_Cultural_Studies"},{"id":595690,"name":"Transgender Theory","url":"https://www.academia.edu/Documents/in/Transgender_Theory"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44406562"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44406562/Against_Queer_Theory"><img alt="Research paper thumbnail of Against Queer Theory" class="work-thumbnail" src="https://attachments.academia-assets.com/64816527/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44406562/Against_Queer_Theory">Against Queer Theory</a></div><div class="wp-workCard_item"><span>Transgender Studies Quarterly</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The author explores how current disciplinary conditions force trans studies against queer theory:...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The author explores how current disciplinary conditions force trans studies against queer theory: Because queer theory is the institutional context through which trans studies is invited into the university, it is also the containing ideological architecture against which trans studies must articulate itself. Trans studies is therefore pressed "against" queer theory as a discursive surface in a manner that limits it from being able to exit this disciplinary scenario.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8b7c5ee0a2c8a366a53d6a852aa730ee" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64816527,"asset_id":44406562,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64816527/download_file?st=MTczMzA1Mjk2MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44406562"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44406562"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44406562; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44406562]").text(description); $(".js-view-count[data-work-id=44406562]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44406562; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44406562']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44406562, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8b7c5ee0a2c8a366a53d6a852aa730ee" } } $('.js-work-strip[data-work-id=44406562]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44406562,"title":"Against Queer Theory","translated_title":"","metadata":{"doi":"10.1215/23289252-8552978","abstract":"The author explores how current disciplinary conditions force trans studies against queer theory: Because queer theory is the institutional context through which trans studies is invited into the university, it is also the containing ideological architecture against which trans studies must articulate itself. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="37594828"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37594828/Getting_Disciplined_Whats_Trans_About_Queer_Studies_Now"><img alt="Research paper thumbnail of Getting Disciplined: What's Trans* About Queer Studies Now?" class="work-thumbnail" src="https://attachments.academia-assets.com/57614099/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37594828/Getting_Disciplined_Whats_Trans_About_Queer_Studies_Now">Getting Disciplined: What's Trans* About Queer Studies Now?</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This essay maps the epistemological terrain trans* studies may face as it is widely incorporated ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This essay maps the epistemological terrain trans* studies may face as it is widely incorporated into queer studies programs, often housed within women's studies departments. Over the past two decades, queer studies and women's studies have rapidly professionalized, producing new modes of disciplinary power that may seek to either include or cite trans* studies, often without fully welcoming its specific material and political investments. Under such conditions, trans* studies may find itself heard largely as a "but" —an epistemic blockage, a distraction from proper objects, a hindrance to customary methods—that must be disciplined.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="0dcf4e636b5251a9c6bc84d16a0e736b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57614099,"asset_id":37594828,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57614099/download_file?st=MTczMzA1Mjk2MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37594828"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37594828"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37594828; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37594828]").text(description); $(".js-view-count[data-work-id=37594828]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37594828; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37594828']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 37594828, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "0dcf4e636b5251a9c6bc84d16a0e736b" } } $('.js-work-strip[data-work-id=37594828]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37594828,"title":"Getting Disciplined: What's Trans* About Queer Studies Now?","translated_title":"","metadata":{"abstract":"This essay maps the epistemological terrain trans* studies may face as it is widely incorporated into queer studies programs, often housed within women's studies departments. 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Find the full issue here: http...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Introduction to Somatechnics 8.1 (March 2018), "Cinematic Bodies." Find the full issue here: <a href="https://www.euppublishing.com/toc/soma/current" rel="nofollow">https://www.euppublishing.com/toc/soma/current</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="80f786a7e4ae92893db024928d46bd36" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56203168,"asset_id":36296359,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56203168/download_file?st=MTczMzA1Mjk2MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36296359"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa 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href="https://www.academia.edu/33279083/Sense8_Roundtable_Spectator_37_2_Transgender_Media_"><img alt="Research paper thumbnail of Sense8 Roundtable (Spectator 37.2, Transgender Media)" class="work-thumbnail" src="https://attachments.academia-assets.com/53347197/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/33279083/Sense8_Roundtable_Spectator_37_2_Transgender_Media_">Sense8 Roundtable (Spectator 37.2, Transgender Media)</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://concordia.academia.edu/C%C3%A1elKeegan">Cáel M Keegan</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://carleton-ca.academia.edu/LauraHorak">Laura Horak</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://usc.academia.edu/RaffiSarkissian">Raffi Sarkissian</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://pitt.academia.edu/GeneveiveNewman">Geneveive R Newman</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In “Sense8 : A Roundtable,” eight scholars think through key questions regarding one of today’s m...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In “Sense8 : A Roundtable,” eight scholars think through key questions regarding one of today’s most impressive trans-produced mainstream media productions, Lana and Lilly Wachowski’s Netﬂix series Sense8, which has yet to receive substantive scholarly attention. We analyze how Sense8 both follows and breaks from the Wachowskis’ prior approach to narrative; oﬀers a distinctly trans* engagement with the histories of cinematic and televisual genres; often relies on western colonial conceptions for its global imagination and marginalizes characters of color; and theorizes contemporary media spectatorship in its appeal to aﬀect and eroticism. We do so believing Sense8 to be an important cultural interlocutor, not only with regard to the exploration of transgender representation but also questions of sexuality, race, and capital in the global present. However, we also share a conviction that the series’ potentiality still leaves substantial room for growth. We take a critical approach to our collective analysis, seeing in the series a glimmer of the kind of global utopian envisioning very much needed in our ceaselessly dystopian present.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1558622a20bef67037a6ad3936823f2d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":53347197,"asset_id":33279083,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/53347197/download_file?st=MTczMzA1Mjk2MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="33279083"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="33279083"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 33279083; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=33279083]").text(description); $(".js-view-count[data-work-id=33279083]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 33279083; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='33279083']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 33279083, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1558622a20bef67037a6ad3936823f2d" } } $('.js-work-strip[data-work-id=33279083]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":33279083,"title":"Sense8 Roundtable (Spectator 37.2, Transgender Media)","translated_title":"","metadata":{"abstract":"In “Sense8 : A Roundtable,” eight scholars think through key questions regarding one of today’s most impressive trans-produced mainstream media productions, Lana and Lilly Wachowski’s Netﬂix series Sense8, which has yet to receive substantive scholarly attention. 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wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/30786151/History_Disrupted_The_aesthetic_gentrification_of_queer_and_trans_cinema">History, Disrupted: The aesthetic gentrification of queer and trans cinema</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This essay connects Sarah Schulman's discussion of aesthetic gentrification in The Gentrification...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This essay connects Sarah Schulman's discussion of aesthetic gentrification in The Gentrification of the Mind with the concept of disruptive innovation to analyse patterns in recent mainstream film exploring LGBTQ histories. Since the Great Recession, LGBTQ cinema in the Global North has become structured by disruptive narrative strategies that reroute the transformative power of queer and transgender histories upward and away from the most at-risk LGBTQ populations. Films such as Dallas Buyers Club, Stonewall, and The Danish Girl purport to represent 'actual' moments in LGBTQ history, but instead appropriate aesthetic space from communities with little to no cultural representation-HIV positive, working-class, and of colour, queer and trans populations-instead offering that space to symbolic gentrifiers. Cultural erasure of AIDS activism and of trans people's important roles in LGBTQ histories and politics are among the most deleterious shared outcomes of this new wave of cinema. This essay contends that historical disruption and resulting aesthetic gentrification of queer and trans cinema in the Global North has potentially global implications for the future of LGBTQ representation.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2f0080b62523a0f2af9beadba7cccc6c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":51220139,"asset_id":30786151,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/51220139/download_file?st=MTczMzA1Mjk2MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="30786151"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="30786151"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 30786151; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=30786151]").text(description); $(".js-view-count[data-work-id=30786151]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 30786151; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='30786151']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 30786151, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2f0080b62523a0f2af9beadba7cccc6c" } } $('.js-work-strip[data-work-id=30786151]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":30786151,"title":"History, Disrupted: The aesthetic gentrification of queer and trans cinema","translated_title":"","metadata":{"abstract":"This essay connects Sarah Schulman's discussion of aesthetic gentrification in The Gentrification of the Mind with the concept of disruptive innovation to analyse patterns in recent mainstream film exploring LGBTQ histories. 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This essay contends that historical disruption and resulting aesthetic gentrification of queer and trans cinema in the Global North has potentially global implications for the future of LGBTQ representation."},"translated_abstract":"This essay connects Sarah Schulman's discussion of aesthetic gentrification in The Gentrification of the Mind with the concept of disruptive innovation to analyse patterns in recent mainstream film exploring LGBTQ histories. Since the Great Recession, LGBTQ cinema in the Global North has become structured by disruptive narrative strategies that reroute the transformative power of queer and transgender histories upward and away from the most at-risk LGBTQ populations. 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src="https://attachments.academia-assets.com/50862860/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/30418561/Tongues_Without_Bodies_The_Wachowskis_Sense8">Tongues Without Bodies: The Wachowskis' Sense8</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Sense8 marks a number of televisual “firsts” in the circulation of trans* as an increasingly tran...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Sense8 marks a number of televisual “firsts” in the circulation of trans* as an increasingly transnational and translingual identity category: It is not only the first television program to feature a transgender character written/directed by a trans creator and acted by a trans performer, but also attempts to visualize a global imaginary in thrilling new ways that revolutionize both the temporality and spatiality of televisual production. In this review, Keegan analyzes Sense8 as a text that simultaneously represents and replicates the conditions of hypermodern globality, discussing how the lingual politics of Sense8 strain against and yet ultimately reproduce the conditions of the (neo)colonial encounter.<br /><br />Keywords: Wachowskis, Sense8, transgender, television, globality</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="cce130671903f21941cc9c1ffd471e86" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":50862860,"asset_id":30418561,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/50862860/download_file?st=MTczMzA1Mjk2MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="30418561"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="30418561"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 30418561; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=30418561]").text(description); $(".js-view-count[data-work-id=30418561]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 30418561; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='30418561']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 30418561, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "cce130671903f21941cc9c1ffd471e86" } } $('.js-work-strip[data-work-id=30418561]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":30418561,"title":"Tongues Without Bodies: The Wachowskis' Sense8","translated_title":"","metadata":{"abstract":"Sense8 marks a number of televisual “firsts” in the circulation of trans* as an increasingly transnational and translingual identity category: It is not only the first television program to feature a transgender character written/directed by a trans creator and acted by a trans performer, but also attempts to visualize a global imaginary in thrilling new ways that revolutionize both the temporality and spatiality of televisual production. In this review, Keegan analyzes Sense8 as a text that simultaneously represents and replicates the conditions of hypermodern globality, discussing how the lingual politics of Sense8 strain against and yet ultimately reproduce the conditions of the (neo)colonial encounter.\n\nKeywords: Wachowskis, Sense8, transgender, television, globality \n"},"translated_abstract":"Sense8 marks a number of televisual “firsts” in the circulation of trans* as an increasingly transnational and translingual identity category: It is not only the first television program to feature a transgender character written/directed by a trans creator and acted by a trans performer, but also attempts to visualize a global imaginary in thrilling new ways that revolutionize both the temporality and spatiality of televisual production. 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href="https://www.academia.edu/30330496/Revisitation_A_transgender_phenomenology_of_the_media_image"><img alt="Research paper thumbnail of Revisitation: A transgender phenomenology of the media image" class="work-thumbnail" src="https://attachments.academia-assets.com/51264320/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/30330496/Revisitation_A_transgender_phenomenology_of_the_media_image">Revisitation: A transgender phenomenology of the media image</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">How might certain moving images move us into transgender becoming? Th e recent proliferation of t...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">How might certain moving images move us into transgender becoming? Th e recent proliferation of transgender images in the media of the Global North has been widely regarded as supporting transgender political and social equality. But do these images do justice to the complexity of transgender lives? Who are images of transgender identity made for, and whose interests do they serve? Instead of discussing media that produce a transgender object for public consumption, this essay's author is interested in theorizing a trans point of media reception for the popular image. Th is essay illustrates how transgender subjects might fashion their own archives of becoming through encounters with media that unintentionally support transgender embodiment as a possibility in the world. Revisiting his phenomeno-logical encounters with the fi lm Under the Skin and the " Milk: It Does a Body Good " ad campaign, the author analyzes how certain media objects have the unexpected power to " move " the transgender subject into becoming.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="267d40b3266a9a9fff08d19dffc422d7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":51264320,"asset_id":30330496,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/51264320/download_file?st=MTczMzA1Mjk2MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="30330496"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="30330496"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 30330496; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=30330496]").text(description); $(".js-view-count[data-work-id=30330496]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 30330496; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='30330496']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 30330496, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "267d40b3266a9a9fff08d19dffc422d7" } } $('.js-work-strip[data-work-id=30330496]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":30330496,"title":"Revisitation: A transgender phenomenology of the media image","translated_title":"","metadata":{"abstract":"How might certain moving images move us into transgender becoming? 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Revisiting his phenomeno-logical encounters with the fi lm Under the Skin and the \" Milk: It Does a Body Good \" ad campaign, the author analyzes how certain media objects have the unexpected power to \" move \" the transgender subject into becoming."},"translated_abstract":"How might certain moving images move us into transgender becoming? Th e recent proliferation of transgender images in the media of the Global North has been widely regarded as supporting transgender political and social equality. But do these images do justice to the complexity of transgender lives? Who are images of transgender identity made for, and whose interests do they serve? Instead of discussing media that produce a transgender object for public consumption, this essay's author is interested in theorizing a trans point of media reception for the popular image. Th is essay illustrates how transgender subjects might fashion their own archives of becoming through encounters with media that unintentionally support transgender embodiment as a possibility in the world. Revisiting his phenomeno-logical encounters with the fi lm Under the Skin and the \" Milk: It Does a Body Good \" ad campaign, the author analyzes how certain media objects have the unexpected power to \" move \" the transgender subject into becoming.","internal_url":"https://www.academia.edu/30330496/Revisitation_A_transgender_phenomenology_of_the_media_image","translated_internal_url":"","created_at":"2016-12-08T06:37:59.571-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":7876332,"coauthors_can_edit":true,"document_type":"book","co_author_tags":[{"id":26459644,"work_id":30330496,"tagging_user_id":7876332,"tagged_user_id":null,"co_author_invite_id":5579080,"email":"c***n@sfsu.edu","display_order":1,"name":"Cael Keegan","title":"Revisitation: A transgender phenomenology of the media image"}],"downloadable_attachments":[{"id":51264320,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/51264320/thumbnails/1.jpg","file_name":"Revisitation_FinalPROOFmediekultur61.pdf","download_url":"https://www.academia.edu/attachments/51264320/download_file?st=MTczMzA1Mjk2MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Revisitation_A_transgender_phenomenology.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/51264320/Revisitation_FinalPROOFmediekultur61-libre.pdf?1483978028=\u0026response-content-disposition=attachment%3B+filename%3DRevisitation_A_transgender_phenomenology.pdf\u0026Expires=1733029345\u0026Signature=Tx5ukk8b0qAHlf4DCC9UKpeBhQk~GIUp39zOYfRXiuxdDfVDYvaIqhfGKi-sbSvMyIZvCB2R7KtiTL1YZ0fon6F0q2KvXc5tzfkxQzuHf~B8vGyEO3Poz5dfgWj5zgxjjMu-LxVapKSWU45OqmD6WC0IlenLJnP2idMzgC~bu4lKZAzB44caBDnbUKvAEKMHvPECUXo2aI4Z1XAClrneEv8s1NvO81BYWfDLH4DAWfBzuI4LeIX0BrCw6xO46ByI8Qpup2BQgL9nohsm~GF4klRkgCR0H4I9l7LXoyRHUSeqQ4yDpI4km2vOrHhFVABzdl3-Gn50mo4ArTULrXeFsQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Revisitation_A_transgender_phenomenology_of_the_media_image","translated_slug":"","page_count":16,"language":"en","content_type":"Work","owner":{"id":7876332,"first_name":"Cáel","middle_initials":"M","last_name":"Keegan","page_name":"CáelKeegan","domain_name":"concordia","created_at":"2013-12-29T01:00:19.390-08:00","display_name":"Cáel M Keegan","url":"https://concordia.academia.edu/C%C3%A1elKeegan"},"attachments":[{"id":51264320,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/51264320/thumbnails/1.jpg","file_name":"Revisitation_FinalPROOFmediekultur61.pdf","download_url":"https://www.academia.edu/attachments/51264320/download_file?st=MTczMzA1Mjk2MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Revisitation_A_transgender_phenomenology.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/51264320/Revisitation_FinalPROOFmediekultur61-libre.pdf?1483978028=\u0026response-content-disposition=attachment%3B+filename%3DRevisitation_A_transgender_phenomenology.pdf\u0026Expires=1733029345\u0026Signature=Tx5ukk8b0qAHlf4DCC9UKpeBhQk~GIUp39zOYfRXiuxdDfVDYvaIqhfGKi-sbSvMyIZvCB2R7KtiTL1YZ0fon6F0q2KvXc5tzfkxQzuHf~B8vGyEO3Poz5dfgWj5zgxjjMu-LxVapKSWU45OqmD6WC0IlenLJnP2idMzgC~bu4lKZAzB44caBDnbUKvAEKMHvPECUXo2aI4Z1XAClrneEv8s1NvO81BYWfDLH4DAWfBzuI4LeIX0BrCw6xO46ByI8Qpup2BQgL9nohsm~GF4klRkgCR0H4I9l7LXoyRHUSeqQ4yDpI4km2vOrHhFVABzdl3-Gn50mo4ArTULrXeFsQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies"},{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies"},{"id":699,"name":"Queer Studies","url":"https://www.academia.edu/Documents/in/Queer_Studies"},{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies"},{"id":934,"name":"Media and Cultural Studies","url":"https://www.academia.edu/Documents/in/Media_and_Cultural_Studies"},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies"},{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory"},{"id":2624,"name":"Transgender Studies","url":"https://www.academia.edu/Documents/in/Transgender_Studies"},{"id":3114,"name":"Queer Theory","url":"https://www.academia.edu/Documents/in/Queer_Theory"},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis"},{"id":7024,"name":"Gender","url":"https://www.academia.edu/Documents/in/Gender"},{"id":8694,"name":"Science Fiction","url":"https://www.academia.edu/Documents/in/Science_Fiction"},{"id":12093,"name":"Theories of Gender and Transgender","url":"https://www.academia.edu/Documents/in/Theories_of_Gender_and_Transgender"},{"id":26798,"name":"Transgender","url":"https://www.academia.edu/Documents/in/Transgender"},{"id":65880,"name":"Speculative Fiction","url":"https://www.academia.edu/Documents/in/Speculative_Fiction"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="14300119"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/14300119/On_Being_the_Object_of_Compromise_Bathrooms_and_Trans_Bodies_at_NWSA"><img alt="Research paper thumbnail of On Being the Object of Compromise: Bathrooms and Trans Bodies at NWSA" class="work-thumbnail" src="https://attachments.academia-assets.com/45552705/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/14300119/On_Being_the_Object_of_Compromise_Bathrooms_and_Trans_Bodies_at_NWSA">On Being the Object of Compromise: Bathrooms and Trans Bodies at NWSA</a></div><div class="wp-workCard_item"><span>Transgender Studies Quarterly</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The 2014 National Women’s Studies Association conference specifically solicited trans-feminist ac...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The 2014 National Women’s Studies Association conference specifically solicited trans-feminist academic work through a CFP sub-theme entitled “Trans-Feminisms.” This sub-theme called for work exploring how “trans-feminist analyses help us redefine feminist politics” and discussing “opportunities for coalitions and convergences among trans-feminisms without co-opting self-chosen trans*/gender identifications and/or objectifying trans* people.” Yet when trans attendees arrived at the conference, they encountered a bathroom implementation that reflected negative cultural attitudes about trans people and subjected them to gender policing and potential violence. In this essay, I analyze NWSA’s bathroom “compromise” as a failed strategy that compromised the safety of all conference attendees while raising serious questions about the current viability of political trans-feminist coalition. <br /> <br />Keywords <br />bathrooms, transgender, NWSA, National Women Studies Association, sex segregation, feminism, trans-feminism</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e3d148770618893798a26e9d90e60cf6" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":45552705,"asset_id":14300119,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/45552705/download_file?st=MTczMzA1Mjk2MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="14300119"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="14300119"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 14300119; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=14300119]").text(description); $(".js-view-count[data-work-id=14300119]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 14300119; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='14300119']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 14300119, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e3d148770618893798a26e9d90e60cf6" } } $('.js-work-strip[data-work-id=14300119]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":14300119,"title":"On Being the Object of Compromise: Bathrooms and Trans Bodies at NWSA","translated_title":"","metadata":{"abstract":"The 2014 National Women’s Studies Association conference specifically solicited trans-feminist academic work through a CFP sub-theme entitled “Trans-Feminisms.” This sub-theme called for work exploring how “trans-feminist analyses help us redefine feminist politics” and discussing “opportunities for coalitions and convergences among trans-feminisms without co-opting self-chosen trans*/gender identifications and/or objectifying trans* people.” Yet when trans attendees arrived at the conference, they encountered a bathroom implementation that reflected negative cultural attitudes about trans people and subjected them to gender policing and potential violence. In this essay, I analyze NWSA’s bathroom “compromise” as a failed strategy that compromised the safety of all conference attendees while raising serious questions about the current viability of political trans-feminist coalition. \r\n\r\nKeywords\r\nbathrooms, transgender, NWSA, National Women Studies Association, sex segregation, feminism, trans-feminism\r\n","more_info":"Transgender Studies Quarterly 3.1-2: Trans/Feminisms","ai_title_tag":"Trans-Feminism and Bathroom Compromise at NWSA Conference","publication_name":"Transgender Studies Quarterly"},"translated_abstract":"The 2014 National Women’s Studies Association conference specifically solicited trans-feminist academic work through a CFP sub-theme entitled “Trans-Feminisms.” This sub-theme called for work exploring how “trans-feminist analyses help us redefine feminist politics” and discussing “opportunities for coalitions and convergences among trans-feminisms without co-opting self-chosen trans*/gender identifications and/or objectifying trans* people.” Yet when trans attendees arrived at the conference, they encountered a bathroom implementation that reflected negative cultural attitudes about trans people and subjected them to gender policing and potential violence. In this essay, I analyze NWSA’s bathroom “compromise” as a failed strategy that compromised the safety of all conference attendees while raising serious questions about the current viability of political trans-feminist coalition. \r\n\r\nKeywords\r\nbathrooms, transgender, NWSA, National Women Studies Association, sex segregation, feminism, trans-feminism\r\n","internal_url":"https://www.academia.edu/14300119/On_Being_the_Object_of_Compromise_Bathrooms_and_Trans_Bodies_at_NWSA","translated_internal_url":"","created_at":"2015-07-22T09:48:03.827-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":7876332,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[],"downloadable_attachments":[{"id":45552705,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/45552705/thumbnails/1.jpg","file_name":"TSQ-2016-Keegan-150-7.pdf","download_url":"https://www.academia.edu/attachments/45552705/download_file?st=MTczMzA1Mjk2MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"On_Being_the_Object_of_Compromise_Bathro.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/45552705/TSQ-2016-Keegan-150-7-libre.pdf?1463005614=\u0026response-content-disposition=attachment%3B+filename%3DOn_Being_the_Object_of_Compromise_Bathro.pdf\u0026Expires=1733029345\u0026Signature=bW2q6vRIPbWHp2~4mPLGzLgs3DjNBqgUPgUx9KbB0wB7~lhz4vGnJ8xrjo0Kkgu7bXc-yLpOFD8Rs41SRbe8kCmXnNIFv~o6Ps9M7-1rdXl6-YFQZXOyfNC8owURgIq33H6UUPcYqnp1~WCIUw30CgV1JkDnetJv~XZIvWKh5eMXE~cDguu3ZxCLdVl1ziUeWO9n~mzgvmrcoL-pH1oHDBWGtuuzBRiybsITG1xl17ClNvY37rMp4Ce4jaW8iwGG56KebQGV4mA~dqNFfT0DiyuKNl7ARYN6u7fwAV5mHY6vm3rs80r8aeIvjpByce6n~IVZSqRYXbY2CYlMaZUotA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"On_Being_the_Object_of_Compromise_Bathrooms_and_Trans_Bodies_at_NWSA","translated_slug":"","page_count":8,"language":"en","content_type":"Work","owner":{"id":7876332,"first_name":"Cáel","middle_initials":"M","last_name":"Keegan","page_name":"CáelKeegan","domain_name":"concordia","created_at":"2013-12-29T01:00:19.390-08:00","display_name":"Cáel M Keegan","url":"https://concordia.academia.edu/C%C3%A1elKeegan"},"attachments":[{"id":45552705,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/45552705/thumbnails/1.jpg","file_name":"TSQ-2016-Keegan-150-7.pdf","download_url":"https://www.academia.edu/attachments/45552705/download_file?st=MTczMzA1Mjk2MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"On_Being_the_Object_of_Compromise_Bathro.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/45552705/TSQ-2016-Keegan-150-7-libre.pdf?1463005614=\u0026response-content-disposition=attachment%3B+filename%3DOn_Being_the_Object_of_Compromise_Bathro.pdf\u0026Expires=1733029345\u0026Signature=bW2q6vRIPbWHp2~4mPLGzLgs3DjNBqgUPgUx9KbB0wB7~lhz4vGnJ8xrjo0Kkgu7bXc-yLpOFD8Rs41SRbe8kCmXnNIFv~o6Ps9M7-1rdXl6-YFQZXOyfNC8owURgIq33H6UUPcYqnp1~WCIUw30CgV1JkDnetJv~XZIvWKh5eMXE~cDguu3ZxCLdVl1ziUeWO9n~mzgvmrcoL-pH1oHDBWGtuuzBRiybsITG1xl17ClNvY37rMp4Ce4jaW8iwGG56KebQGV4mA~dqNFfT0DiyuKNl7ARYN6u7fwAV5mHY6vm3rs80r8aeIvjpByce6n~IVZSqRYXbY2CYlMaZUotA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies"},{"id":699,"name":"Queer Studies","url":"https://www.academia.edu/Documents/in/Queer_Studies"},{"id":1372,"name":"Architecture","url":"https://www.academia.edu/Documents/in/Architecture"},{"id":2624,"name":"Transgender Studies","url":"https://www.academia.edu/Documents/in/Transgender_Studies"},{"id":3114,"name":"Queer Theory","url":"https://www.academia.edu/Documents/in/Queer_Theory"},{"id":4917,"name":"Gender and Sexuality","url":"https://www.academia.edu/Documents/in/Gender_and_Sexuality"},{"id":7024,"name":"Gender","url":"https://www.academia.edu/Documents/in/Gender"},{"id":10453,"name":"Feminism","url":"https://www.academia.edu/Documents/in/Feminism"},{"id":12093,"name":"Theories of Gender and Transgender","url":"https://www.academia.edu/Documents/in/Theories_of_Gender_and_Transgender"},{"id":85606,"name":"Transfeminism","url":"https://www.academia.edu/Documents/in/Transfeminism"},{"id":657792,"name":"Womens and Gender Studies","url":"https://www.academia.edu/Documents/in/Womens_and_Gender_Studies"},{"id":980525,"name":"Lesbian Gay Bisexual Transgender Studies","url":"https://www.academia.edu/Documents/in/Lesbian_Gay_Bisexual_Transgender_Studies"},{"id":1723635,"name":"Public Policy","url":"https://www.academia.edu/Documents/in/Public_Policy"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="13444457"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/13444457/Emptying_the_Future_Queer_Melodramatics_and_Negative_Utopia_on_Buffy_the_Vampire_Slayer"><img alt="Research paper thumbnail of Emptying the Future: Queer Melodramatics and Negative Utopia on Buffy the Vampire Slayer" class="work-thumbnail" src="https://attachments.academia-assets.com/44805014/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/13444457/Emptying_the_Future_Queer_Melodramatics_and_Negative_Utopia_on_Buffy_the_Vampire_Slayer">Emptying the Future: Queer Melodramatics and Negative Utopia on Buffy the Vampire Slayer</a></div><div class="wp-workCard_item"><span>Queer Studies in Media and Popular Culture</span><span>, 2015</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Why should we still care about Buffy the Vampire Slayer? With over two hundred scholarly articles...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Why should we still care about Buffy the Vampire Slayer? With over two hundred scholarly articles, a yearly conference, and an academic journal devoted to its study, Buffy has been well-explored. Yet compared to current broadcast programming, the show continues to stand out as an uncommonly radical mainstream text. Since Buffy’s last airing, realist images of the “good gay citizen” have proliferated across American broadcast television, depicting lesbian and gay characters as assimilated extensions of the bourgeois heteronormative family and its consumer practices. In contrast, Buffy offers viewers a melodramatic and queerly negative popular aesthetic of the sort that barely exists today. In this essay, the author returns to Buffy and its darkly queer hero, Willow Rosenberg, as indicators of utopian possibilities forgotten - hopefully not yet lost. <br /> <br />Keywords: Buffy the Vampire Slayer, queer, melodrama, homonormativity, utopia, negativity, futurity</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d2157cbcb2218114bc7921771842f4f4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":44805014,"asset_id":13444457,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/44805014/download_file?st=MTczMzA1Mjk2MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="13444457"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="13444457"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 13444457; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=13444457]").text(description); $(".js-view-count[data-work-id=13444457]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 13444457; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='13444457']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 13444457, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d2157cbcb2218114bc7921771842f4f4" } } $('.js-work-strip[data-work-id=13444457]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":13444457,"title":"Emptying the Future: Queer Melodramatics and Negative Utopia on Buffy the Vampire Slayer","translated_title":"","metadata":{"abstract":"Why should we still care about Buffy the Vampire Slayer? With over two hundred scholarly articles, a yearly conference, and an academic journal devoted to its study, Buffy has been well-explored. Yet compared to current broadcast programming, the show continues to stand out as an uncommonly radical mainstream text. Since Buffy’s last airing, realist images of the “good gay citizen” have proliferated across American broadcast television, depicting lesbian and gay characters as assimilated extensions of the bourgeois heteronormative family and its consumer practices. In contrast, Buffy offers viewers a melodramatic and queerly negative popular aesthetic of the sort that barely exists today. In this essay, the author returns to Buffy and its darkly queer hero, Willow Rosenberg, as indicators of utopian possibilities forgotten - hopefully not yet lost. \r\n\r\nKeywords: Buffy the Vampire Slayer, queer, melodrama, homonormativity, utopia, negativity, futurity\r\n","more_info":"Forthcoming in the first issue of Queer Studies in Media and Popular Culture ","publication_date":{"day":null,"month":null,"year":2015,"errors":{}},"publication_name":"Queer Studies in Media and Popular Culture"},"translated_abstract":"Why should we still care about Buffy the Vampire Slayer? With over two hundred scholarly articles, a yearly conference, and an academic journal devoted to its study, Buffy has been well-explored. Yet compared to current broadcast programming, the show continues to stand out as an uncommonly radical mainstream text. Since Buffy’s last airing, realist images of the “good gay citizen” have proliferated across American broadcast television, depicting lesbian and gay characters as assimilated extensions of the bourgeois heteronormative family and its consumer practices. In contrast, Buffy offers viewers a melodramatic and queerly negative popular aesthetic of the sort that barely exists today. In this essay, the author returns to Buffy and its darkly queer hero, Willow Rosenberg, as indicators of utopian possibilities forgotten - hopefully not yet lost. \r\n\r\nKeywords: Buffy the Vampire Slayer, queer, melodrama, homonormativity, utopia, negativity, futurity\r\n","internal_url":"https://www.academia.edu/13444457/Emptying_the_Future_Queer_Melodramatics_and_Negative_Utopia_on_Buffy_the_Vampire_Slayer","translated_internal_url":"","created_at":"2015-06-30T06:50:33.593-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":7876332,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[],"downloadable_attachments":[{"id":44805014,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/44805014/thumbnails/1.jpg","file_name":"Keegan_Emptying_the_Future_Official.pdf","download_url":"https://www.academia.edu/attachments/44805014/download_file?st=MTczMzA1Mjk2MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Emptying_the_Future_Queer_Melodramatics.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/44805014/Keegan_Emptying_the_Future_Official-libre.pdf?1460848462=\u0026response-content-disposition=attachment%3B+filename%3DEmptying_the_Future_Queer_Melodramatics.pdf\u0026Expires=1733029345\u0026Signature=OY~aCbkwHocgUuG-XvpJUw3U9IMTOUo8M7aGRP2S9u3ZtOYPFry~tSXLPsBxcHWoj5Ua6PVFYf3~V~tsNbNF4T9E-rE-ObGMN7~fN5WGfc~G~Q7GWUIB~eAsGJOkREhD5ldVTqK1fBzLQ8V1NkmN~V0JzMi0~QZWlTEEzETWCmCDb0TwlPwGtcbE8QPVa9-PY~90jX36jnObcuw0GuA-GZNR91G1TxN2SkJ78iNnx2ATIZxjnGx5KhlAO8-5auA8IEUyOI9zK~ib45rqq51Ion-6w4SeCQG2S0px4P6WoEDo7vf8G5gTetPlc71t2KIrwbmppvR7MRGqEDRy0TfDvg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Emptying_the_Future_Queer_Melodramatics_and_Negative_Utopia_on_Buffy_the_Vampire_Slayer","translated_slug":"","page_count":14,"language":"en","content_type":"Work","owner":{"id":7876332,"first_name":"Cáel","middle_initials":"M","last_name":"Keegan","page_name":"CáelKeegan","domain_name":"concordia","created_at":"2013-12-29T01:00:19.390-08:00","display_name":"Cáel M Keegan","url":"https://concordia.academia.edu/C%C3%A1elKeegan"},"attachments":[{"id":44805014,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/44805014/thumbnails/1.jpg","file_name":"Keegan_Emptying_the_Future_Official.pdf","download_url":"https://www.academia.edu/attachments/44805014/download_file?st=MTczMzA1Mjk2MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Emptying_the_Future_Queer_Melodramatics.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/44805014/Keegan_Emptying_the_Future_Official-libre.pdf?1460848462=\u0026response-content-disposition=attachment%3B+filename%3DEmptying_the_Future_Queer_Melodramatics.pdf\u0026Expires=1733029345\u0026Signature=OY~aCbkwHocgUuG-XvpJUw3U9IMTOUo8M7aGRP2S9u3ZtOYPFry~tSXLPsBxcHWoj5Ua6PVFYf3~V~tsNbNF4T9E-rE-ObGMN7~fN5WGfc~G~Q7GWUIB~eAsGJOkREhD5ldVTqK1fBzLQ8V1NkmN~V0JzMi0~QZWlTEEzETWCmCDb0TwlPwGtcbE8QPVa9-PY~90jX36jnObcuw0GuA-GZNR91G1TxN2SkJ78iNnx2ATIZxjnGx5KhlAO8-5auA8IEUyOI9zK~ib45rqq51Ion-6w4SeCQG2S0px4P6WoEDo7vf8G5gTetPlc71t2KIrwbmppvR7MRGqEDRy0TfDvg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies"},{"id":390,"name":"American Studies","url":"https://www.academia.edu/Documents/in/American_Studies"},{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies"},{"id":699,"name":"Queer Studies","url":"https://www.academia.edu/Documents/in/Queer_Studies"},{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies"},{"id":1571,"name":"Television Studies","url":"https://www.academia.edu/Documents/in/Television_Studies"},{"id":2858,"name":"Popular Culture","url":"https://www.academia.edu/Documents/in/Popular_Culture"},{"id":3114,"name":"Queer Theory","url":"https://www.academia.edu/Documents/in/Queer_Theory"},{"id":4498,"name":"Utopian Studies","url":"https://www.academia.edu/Documents/in/Utopian_Studies"},{"id":4917,"name":"Gender and Sexuality","url":"https://www.academia.edu/Documents/in/Gender_and_Sexuality"},{"id":7024,"name":"Gender","url":"https://www.academia.edu/Documents/in/Gender"},{"id":10885,"name":"Fantasy Literature","url":"https://www.academia.edu/Documents/in/Fantasy_Literature"},{"id":14382,"name":"Buffy the Vampire Slayer","url":"https://www.academia.edu/Documents/in/Buffy_the_Vampire_Slayer"},{"id":20667,"name":"Science Fiction and Fantasy","url":"https://www.academia.edu/Documents/in/Science_Fiction_and_Fantasy"},{"id":184170,"name":"Buffy Studies","url":"https://www.academia.edu/Documents/in/Buffy_Studies"}],"urls":[{"id":4916873,"url":"http://www.intellectbooks.co.uk/journals/view-Journal,id=245/"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="10649769"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/10649769/Looking_Transparent"><img alt="Research paper thumbnail of Looking Transparent" class="work-thumbnail" src="https://attachments.academia-assets.com/44805031/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/10649769/Looking_Transparent">Looking Transparent</a></div><div class="wp-workCard_item"><span>Studies in Gender and Sexuality: Special Issue "Looking (at Sexuality and Gender) Now"</span><span>, Jun 9, 2015</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Backward glances make transparent the neoliberal lures of inclusion and equality. They search, in...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Backward glances make transparent the neoliberal lures of inclusion and equality. They search, instead, for something better. But how do we look backward when our turning back is turned around by the promise of happiness, which “keeps its place as a wish by its failure to be given?” (Ahmed, 2010, p. 1) Since at least the Gold Rush, California has held out to queers the promise of a bright future that has required us to look away from the state’s colonized reality. Both Looking and Transparent explore California as a primary site for negotiating 21st-century queer nostalgia and dispossession.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2ea10fa2cd3c9e1affb679b29f84878c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":44805031,"asset_id":10649769,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/44805031/download_file?st=MTczMzA1Mjk2MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="10649769"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="10649769"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10649769; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=10649769]").text(description); $(".js-view-count[data-work-id=10649769]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 10649769; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='10649769']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 10649769, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2ea10fa2cd3c9e1affb679b29f84878c" } } $('.js-work-strip[data-work-id=10649769]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":10649769,"title":"Looking Transparent","translated_title":"","metadata":{"abstract":"Backward glances make transparent the neoliberal lures of inclusion and equality. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="7220088"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/7220088/Queer_Sensations_Postwar_American_Melodrama_and_the_Crisis_of_Queer_Juvenility"><img alt="Research paper thumbnail of Queer Sensations: Postwar American Melodrama and the Crisis of Queer Juvenility" class="work-thumbnail" src="https://attachments.academia-assets.com/33842690/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/7220088/Queer_Sensations_Postwar_American_Melodrama_and_the_Crisis_of_Queer_Juvenility">Queer Sensations: Postwar American Melodrama and the Crisis of Queer Juvenility</a></div><div class="wp-workCard_item"><span>Thymos: The Journal of Boyhood Studies</span><span>, Nov 30, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This essay examines the melodramatic genre convention of the “sensation scene” as a vehicle for t...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This essay examines the melodramatic genre convention of the “sensation scene” as a vehicle for the representation of queer crises in American juvenility during the postwar era. Through popular cinema, the nation aesthetically organized and communicated concerns about the production of “fit” masculine and heterosexual juveniles, who would be capable of carrying out the postwar expansion of American democratic and capitalist ideologies. During an era in which heightened policing of sexual and gendered behavior began to replace racialization as a major obstacle to full American citizenship, postwar American films reflect new obsessions with the developmental tracking of male juveniles into proper manhood, and out of/away from queer “phases” or “tendencies” that would delay or prevent the achievement of ethical adulthood. In this essay, I read two signature postwar-era melodramas, Rebel Without a Cause and Tea and Sympathy, as containing defining examples of what I call a “queer sensation scene”: a scene that signals the potentially tragic failure to achieve correctly embodied male citizenship in the nation. In both Rebel and Tea, the queer sensation scene appears as an affective point through which codes of developmental citizenship are deployed, consumed, and reinforced, generating symbolic pathways that justified the institutional “sorting” of male youth according to quality and ability. The result is a popular cinematic rhetoric in which the emergent citizenship of white, heterosexually conforming male juveniles is prefigured through the failure of other, less “fit” queer masculinities. In conclusion, I argue that this genre device continues to structure popular representations of and common thinking about the relative value of young, male American lives.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5c6064fb8512134f41ea2b1247d471fb" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":33842690,"asset_id":7220088,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/33842690/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7220088"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7220088"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7220088; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7220088]").text(description); $(".js-view-count[data-work-id=7220088]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7220088; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7220088']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 7220088, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "5c6064fb8512134f41ea2b1247d471fb" } } $('.js-work-strip[data-work-id=7220088]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7220088,"title":"Queer Sensations: Postwar American Melodrama and the Crisis of Queer Juvenility","translated_title":"","metadata":{"abstract":"This essay examines the melodramatic genre convention of the “sensation scene” as a vehicle for the representation of queer crises in American juvenility during the postwar era. Through popular cinema, the nation aesthetically organized and communicated concerns about the production of “fit” masculine and heterosexual juveniles, who would be capable of carrying out the postwar expansion of American democratic and capitalist ideologies. During an era in which heightened policing of sexual and gendered behavior began to replace racialization as a major obstacle to full American citizenship, postwar American films reflect new obsessions with the developmental tracking of male juveniles into proper manhood, and out of/away from queer “phases” or “tendencies” that would delay or prevent the achievement of ethical adulthood. In this essay, I read two signature postwar-era melodramas, Rebel Without a Cause and Tea and Sympathy, as containing defining examples of what I call a “queer sensation scene”: a scene that signals the potentially tragic failure to achieve correctly embodied male citizenship in the nation. In both Rebel and Tea, the queer sensation scene appears as an affective point through which codes of developmental citizenship are deployed, consumed, and reinforced, generating symbolic pathways that justified the institutional “sorting” of male youth according to quality and ability. The result is a popular cinematic rhetoric in which the emergent citizenship of white, heterosexually conforming male juveniles is prefigured through the failure of other, less “fit” queer masculinities. In conclusion, I argue that this genre device continues to structure popular representations of and common thinking about the relative value of young, male American lives. ","publication_date":{"day":30,"month":11,"year":2013,"errors":{}},"publication_name":"Thymos: The Journal of Boyhood Studies"},"translated_abstract":"This essay examines the melodramatic genre convention of the “sensation scene” as a vehicle for the representation of queer crises in American juvenility during the postwar era. Through popular cinema, the nation aesthetically organized and communicated concerns about the production of “fit” masculine and heterosexual juveniles, who would be capable of carrying out the postwar expansion of American democratic and capitalist ideologies. During an era in which heightened policing of sexual and gendered behavior began to replace racialization as a major obstacle to full American citizenship, postwar American films reflect new obsessions with the developmental tracking of male juveniles into proper manhood, and out of/away from queer “phases” or “tendencies” that would delay or prevent the achievement of ethical adulthood. In this essay, I read two signature postwar-era melodramas, Rebel Without a Cause and Tea and Sympathy, as containing defining examples of what I call a “queer sensation scene”: a scene that signals the potentially tragic failure to achieve correctly embodied male citizenship in the nation. In both Rebel and Tea, the queer sensation scene appears as an affective point through which codes of developmental citizenship are deployed, consumed, and reinforced, generating symbolic pathways that justified the institutional “sorting” of male youth according to quality and ability. The result is a popular cinematic rhetoric in which the emergent citizenship of white, heterosexually conforming male juveniles is prefigured through the failure of other, less “fit” queer masculinities. In conclusion, I argue that this genre device continues to structure popular representations of and common thinking about the relative value of young, male American lives. ","internal_url":"https://www.academia.edu/7220088/Queer_Sensations_Postwar_American_Melodrama_and_the_Crisis_of_Queer_Juvenility","translated_internal_url":"","created_at":"2014-06-01T02:20:39.188-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":7876332,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[],"downloadable_attachments":[{"id":33842690,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/33842690/thumbnails/1.jpg","file_name":"THYMOS0702_2_Keegan_FINAL.pdf","download_url":"https://www.academia.edu/attachments/33842690/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Queer_Sensations_Postwar_American_Melodr.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/33842690/THYMOS0702_2_Keegan_FINAL-libre.pdf?1401614445=\u0026response-content-disposition=attachment%3B+filename%3DQueer_Sensations_Postwar_American_Melodr.pdf\u0026Expires=1733029345\u0026Signature=dXz3MVXo0v3vS8PHVnFt7dVVD72rpdxbJAqyurBRl3FeWogF6hUTwGHSWDRd2TpuXHbdS-8ppOQqMnbrFtXfQ9mF7pjWjVPIQdS0kdperclPUh44xNYhUDHjTy9LNGrVR-Y9uW9lh8FxbTq6D5TdJMyCIoW1zEFe3fciOezk7TBJKqHRNsrNoh9DYyxAxHitleq9ME4uDUEjX6Zg8BP6kqbhSWO8~0ohL2R~p61ivwTmrVboKGPBzR4~jdZmdnfUEOhUcnl-zEUtb1zRmnzfi1VJjpcfMosJ0gGgxUccjv94ZMJ1xXXQa8lm4GZdxL9mG5TIu4CuDDN1gA2K5zyxqA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Queer_Sensations_Postwar_American_Melodrama_and_the_Crisis_of_Queer_Juvenility","translated_slug":"","page_count":16,"language":"en","content_type":"Work","owner":{"id":7876332,"first_name":"Cáel","middle_initials":"M","last_name":"Keegan","page_name":"CáelKeegan","domain_name":"concordia","created_at":"2013-12-29T01:00:19.390-08:00","display_name":"Cáel M Keegan","url":"https://concordia.academia.edu/C%C3%A1elKeegan"},"attachments":[{"id":33842690,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/33842690/thumbnails/1.jpg","file_name":"THYMOS0702_2_Keegan_FINAL.pdf","download_url":"https://www.academia.edu/attachments/33842690/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Queer_Sensations_Postwar_American_Melodr.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/33842690/THYMOS0702_2_Keegan_FINAL-libre.pdf?1401614445=\u0026response-content-disposition=attachment%3B+filename%3DQueer_Sensations_Postwar_American_Melodr.pdf\u0026Expires=1733029345\u0026Signature=dXz3MVXo0v3vS8PHVnFt7dVVD72rpdxbJAqyurBRl3FeWogF6hUTwGHSWDRd2TpuXHbdS-8ppOQqMnbrFtXfQ9mF7pjWjVPIQdS0kdperclPUh44xNYhUDHjTy9LNGrVR-Y9uW9lh8FxbTq6D5TdJMyCIoW1zEFe3fciOezk7TBJKqHRNsrNoh9DYyxAxHitleq9ME4uDUEjX6Zg8BP6kqbhSWO8~0ohL2R~p61ivwTmrVboKGPBzR4~jdZmdnfUEOhUcnl-zEUtb1zRmnzfi1VJjpcfMosJ0gGgxUccjv94ZMJ1xXXQa8lm4GZdxL9mG5TIu4CuDDN1gA2K5zyxqA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":129,"name":"American History","url":"https://www.academia.edu/Documents/in/American_History"},{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies"},{"id":390,"name":"American Studies","url":"https://www.academia.edu/Documents/in/American_Studies"},{"id":699,"name":"Queer Studies","url":"https://www.academia.edu/Documents/in/Queer_Studies"},{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies"},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies"},{"id":2858,"name":"Popular Culture","url":"https://www.academia.edu/Documents/in/Popular_Culture"},{"id":2865,"name":"Masculinity Studies","url":"https://www.academia.edu/Documents/in/Masculinity_Studies"},{"id":3114,"name":"Queer Theory","url":"https://www.academia.edu/Documents/in/Queer_Theory"},{"id":8734,"name":"Masculinity","url":"https://www.academia.edu/Documents/in/Masculinity"},{"id":9343,"name":"Melodrama","url":"https://www.academia.edu/Documents/in/Melodrama"},{"id":26093,"name":"Classical Hollywood","url":"https://www.academia.edu/Documents/in/Classical_Hollywood"},{"id":27903,"name":"Affect (Cultural Theory)","url":"https://www.academia.edu/Documents/in/Affect_Cultural_Theory_"},{"id":38148,"name":"Postwar America","url":"https://www.academia.edu/Documents/in/Postwar_America"},{"id":41734,"name":"Teenagers","url":"https://www.academia.edu/Documents/in/Teenagers"},{"id":47198,"name":"Queer/Gay film","url":"https://www.academia.edu/Documents/in/Queer_Gay_film"},{"id":47199,"name":"Hollywood","url":"https://www.academia.edu/Documents/in/Hollywood"},{"id":411915,"name":"Boyhood","url":"https://www.academia.edu/Documents/in/Boyhood"},{"id":980525,"name":"Lesbian Gay Bisexual Transgender Studies","url":"https://www.academia.edu/Documents/in/Lesbian_Gay_Bisexual_Transgender_Studies"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="7220040"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/7220040/Moving_Bodies_Sympathetic_Migrations_in_Transgender_Narrativity"><img alt="Research paper thumbnail of Moving Bodies: Sympathetic Migrations in Transgender Narrativity" class="work-thumbnail" src="https://attachments.academia-assets.com/57389571/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/7220040/Moving_Bodies_Sympathetic_Migrations_in_Transgender_Narrativity">Moving Bodies: Sympathetic Migrations in Transgender Narrativity</a></div><div class="wp-workCard_item"><span>Genders</span><span>, Jun 1, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This paper theorizes the mainstream representation of the transgender body as an emerging politic...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This paper theorizes the mainstream representation of the transgender body as an emerging political construct that is sutured, through coded forms of mediated consumerism, to specific structures of feeling. In popular transgender narrativity, transgender difference is commonly depicted as an experience of prescribed affect: the trans* body is fashioned as one that “feels bad”—a dysphoric body. Transgender identity is therefore framed as a mode of feeling, and “fixing” trans* difference is understood as a migration out of the negativity that transgender people feel—and make others feel—about their corporeality. This paper examines the political effect of sympathetic popular representations of transgender difference on the actual possibilities for trans* justice and recognition. A new form of ideal, “progressive” citizenship becomes available for consumption through the “moving body” of this hegemonic transgender sign, the emerging transnormative subject.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1d2407afffe863ad3c421b23aba0e5c3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57389571,"asset_id":7220040,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57389571/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7220040"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7220040"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7220040; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7220040]").text(description); $(".js-view-count[data-work-id=7220040]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7220040; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7220040']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 7220040, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1d2407afffe863ad3c421b23aba0e5c3" } } $('.js-work-strip[data-work-id=7220040]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7220040,"title":"Moving Bodies: Sympathetic Migrations in Transgender Narrativity","translated_title":"","metadata":{"abstract":"This paper theorizes the mainstream representation of the transgender body as an emerging political construct that is sutured, through coded forms of mediated consumerism, to specific structures of feeling. In popular transgender narrativity, transgender difference is commonly depicted as an experience of prescribed affect: the trans* body is fashioned as one that “feels bad”—a dysphoric body. Transgender identity is therefore framed as a mode of feeling, and “fixing” trans* difference is understood as a migration out of the negativity that transgender people feel—and make others feel—about their corporeality. This paper examines the political effect of sympathetic popular representations of transgender difference on the actual possibilities for trans* justice and recognition. A new form of ideal, “progressive” citizenship becomes available for consumption through the “moving body” of this hegemonic transgender sign, the emerging transnormative subject. \r\n \r\n","publication_date":{"day":1,"month":6,"year":2013,"errors":{}},"publication_name":"Genders"},"translated_abstract":"This paper theorizes the mainstream representation of the transgender body as an emerging political construct that is sutured, through coded forms of mediated consumerism, to specific structures of feeling. In popular transgender narrativity, transgender difference is commonly depicted as an experience of prescribed affect: the trans* body is fashioned as one that “feels bad”—a dysphoric body. Transgender identity is therefore framed as a mode of feeling, and “fixing” trans* difference is understood as a migration out of the negativity that transgender people feel—and make others feel—about their corporeality. This paper examines the political effect of sympathetic popular representations of transgender difference on the actual possibilities for trans* justice and recognition. A new form of ideal, “progressive” citizenship becomes available for consumption through the “moving body” of this hegemonic transgender sign, the emerging transnormative subject. \r\n \r\n","internal_url":"https://www.academia.edu/7220040/Moving_Bodies_Sympathetic_Migrations_in_Transgender_Narrativity","translated_internal_url":"","created_at":"2014-06-01T02:17:40.330-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":7876332,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[],"downloadable_attachments":[{"id":57389571,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/57389571/thumbnails/1.jpg","file_name":"Moving_bodies_sympathetic_migr.pdf","download_url":"https://www.academia.edu/attachments/57389571/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Moving_Bodies_Sympathetic_Migrations_in.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/57389571/Moving_bodies_sympathetic_migr-libre.pdf?1537101682=\u0026response-content-disposition=attachment%3B+filename%3DMoving_Bodies_Sympathetic_Migrations_in.pdf\u0026Expires=1733029345\u0026Signature=fB~8oJRXfd2EOOkrVlO~i3Mnw7YekOeb4a4llVG37UIbCgONwdtVkH5J1p2aLsMpHmIK~g~F7eOcPaBzwUWfx1RJIhjPXyHb6Hpsx-uPSuql-gjptMpMpSRbHZ7CpfHHEFrBchM0XRKBT7UeUYDN-SyIngLH9Cq5~7pnomZhHZwZFx0dXhTJASB7EICvv2s4EtjF3q6rtFEJwbA47o6D7BBKuHVq6iAaXfS9rHxGCnzzElO8zf8MxCHCFRjR9JwO~n5D0nhFyYEPX3MGIkQdLxsvHVBROQmAJj4fhf09ShZFo6-ZWgyAxfqQD~GVGZc7i8mkzczQu4sEEJSk3GieSg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Moving_Bodies_Sympathetic_Migrations_in_Transgender_Narrativity","translated_slug":"","page_count":7,"language":"en","content_type":"Work","owner":{"id":7876332,"first_name":"Cáel","middle_initials":"M","last_name":"Keegan","page_name":"CáelKeegan","domain_name":"concordia","created_at":"2013-12-29T01:00:19.390-08:00","display_name":"Cáel M Keegan","url":"https://concordia.academia.edu/C%C3%A1elKeegan"},"attachments":[{"id":57389571,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/57389571/thumbnails/1.jpg","file_name":"Moving_bodies_sympathetic_migr.pdf","download_url":"https://www.academia.edu/attachments/57389571/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Moving_Bodies_Sympathetic_Migrations_in.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/57389571/Moving_bodies_sympathetic_migr-libre.pdf?1537101682=\u0026response-content-disposition=attachment%3B+filename%3DMoving_Bodies_Sympathetic_Migrations_in.pdf\u0026Expires=1733029345\u0026Signature=fB~8oJRXfd2EOOkrVlO~i3Mnw7YekOeb4a4llVG37UIbCgONwdtVkH5J1p2aLsMpHmIK~g~F7eOcPaBzwUWfx1RJIhjPXyHb6Hpsx-uPSuql-gjptMpMpSRbHZ7CpfHHEFrBchM0XRKBT7UeUYDN-SyIngLH9Cq5~7pnomZhHZwZFx0dXhTJASB7EICvv2s4EtjF3q6rtFEJwbA47o6D7BBKuHVq6iAaXfS9rHxGCnzzElO8zf8MxCHCFRjR9JwO~n5D0nhFyYEPX3MGIkQdLxsvHVBROQmAJj4fhf09ShZFo6-ZWgyAxfqQD~GVGZc7i8mkzczQu4sEEJSk3GieSg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies"},{"id":390,"name":"American Studies","url":"https://www.academia.edu/Documents/in/American_Studies"},{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies"},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies"},{"id":1571,"name":"Television Studies","url":"https://www.academia.edu/Documents/in/Television_Studies"},{"id":2624,"name":"Transgender Studies","url":"https://www.academia.edu/Documents/in/Transgender_Studies"},{"id":2858,"name":"Popular Culture","url":"https://www.academia.edu/Documents/in/Popular_Culture"},{"id":4917,"name":"Gender and Sexuality","url":"https://www.academia.edu/Documents/in/Gender_and_Sexuality"},{"id":7024,"name":"Gender","url":"https://www.academia.edu/Documents/in/Gender"},{"id":12093,"name":"Theories of Gender and Transgender","url":"https://www.academia.edu/Documents/in/Theories_of_Gender_and_Transgender"},{"id":27903,"name":"Affect (Cultural Theory)","url":"https://www.academia.edu/Documents/in/Affect_Cultural_Theory_"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="7220118"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/7220118/Household_Remedies_New_Narratives_of_Queer_Containment_in_the_Television_Movie"><img alt="Research paper thumbnail of Household Remedies: New Narratives of Queer Containment in the Television Movie" class="work-thumbnail" src="https://attachments.academia-assets.com/33842720/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/7220118/Household_Remedies_New_Narratives_of_Queer_Containment_in_the_Television_Movie">Household Remedies: New Narratives of Queer Containment in the Television Movie</a></div><div class="wp-workCard_item"><span>Journal of Lesbian Studies</span><span>, 2006</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">What constitutes lesbian identity and who gets to define and/or inhabit such an identity in a pos...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">What constitutes lesbian identity and who gets to define and/or inhabit such an identity in a postmodern, mediated world? This article addresses how the structure of televisual discourse restricts and streamlines “lesbian” representations in television movies. The supposed “progress” of appearing in the virtual public spaces of television and print media may fulfill the queer impulse for visibility in opposition to cultural silence, but it may also come at the price of a depoliticization of queer life and erotic resistance. Taking notice of which deployments of “queerness” are created and supported by the text of the  television movie, this article seeks insight into how the queer body and queer identity are being hegemonically reconstructed for consumption by this media form.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1a7c6a866a4b7bffcb7cb09cb35dbbc7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":33842720,"asset_id":7220118,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/33842720/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7220118"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7220118"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7220118; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7220118]").text(description); $(".js-view-count[data-work-id=7220118]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7220118; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7220118']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 7220118, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1a7c6a866a4b7bffcb7cb09cb35dbbc7" } } $('.js-work-strip[data-work-id=7220118]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7220118,"title":"Household Remedies: New Narratives of Queer Containment in the Television Movie","translated_title":"","metadata":{"abstract":"What constitutes lesbian identity and who gets to define and/or inhabit such an identity in a postmodern, mediated world? 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="7220104"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/7220104/Sexing_the_Terrorist_Tracing_the_National_Body_at_Abu_Ghraib"><img alt="Research paper thumbnail of Sexing the Terrorist: Tracing the National Body at Abu Ghraib" class="work-thumbnail" src="https://attachments.academia-assets.com/33842706/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/7220104/Sexing_the_Terrorist_Tracing_the_National_Body_at_Abu_Ghraib">Sexing the Terrorist: Tracing the National Body at Abu Ghraib</a></div><div class="wp-workCard_item"><span>NeoAmericanist</span><span>, Nov 30, 2005</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">For the vast majority, the specter of the racialized and homophobic violence documented at Abu Gh...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">For the vast majority, the specter of the racialized and homophobic violence documented at Abu Ghraib was an inexplicably unsettling sight. In this article Keegan attempts to explain this discomfort by examining what these abuses and the public perception of them implied and revealed about the desire for an impermeable and purified American national body. Keegan reads the creation and implementation of the figure of the terrorist as a signifier for national incoherence and as a tool for the symbolic control and oppression of other socially undesirable groups, particularly queer people. The homosexual humiliation at Abu Ghraib, employing the terrorist body as a floating signifier, is interpreted to signal a new level of innovation in the use of homophobic terror as a technology of nationalistic militarization and expanding empire. Ultimately, Keegan argues that popular interpretations of Abu Ghraib disclose American society’s inability to recognize and defuse its own heterosexist practices.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9c3a2f9236cc9b0f5d932009fc0777ed" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":33842706,"asset_id":7220104,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/33842706/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7220104"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7220104"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7220104; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7220104]").text(description); $(".js-view-count[data-work-id=7220104]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7220104; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7220104']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 7220104, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "9c3a2f9236cc9b0f5d932009fc0777ed" } } $('.js-work-strip[data-work-id=7220104]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7220104,"title":"Sexing the Terrorist: Tracing the National Body at Abu Ghraib","translated_title":"","metadata":{"abstract":"For the vast majority, the specter of the racialized and homophobic violence documented at Abu Ghraib was an inexplicably unsettling sight. 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The homosexual humiliation at Abu Ghraib, employing the terrorist body as a floating signifier, is interpreted to signal a new level of innovation in the use of homophobic terror as a technology of nationalistic militarization and expanding empire. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Book Chapters" id="Book Chapters"><h3 class="profile--tab_heading_container">Book Chapters by Cáel M Keegan</h3></div><div class="js-work-strip profile--work_container" data-work-id="63552863"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/63552863/Mirror_Scene_Transgender_Aesthetics_in_The_Matrix_and_Boys_Dont_Cry"><img alt="Research paper thumbnail of Mirror Scene: Transgender Aesthetics in The Matrix and Boys Don't Cry" class="work-thumbnail" src="https://attachments.academia-assets.com/75945630/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/63552863/Mirror_Scene_Transgender_Aesthetics_in_The_Matrix_and_Boys_Dont_Cry">Mirror Scene: Transgender Aesthetics in The Matrix and Boys Don't Cry</a></div><div class="wp-workCard_item"><span>The Oxford Handbook of Queer Cinema</span><span>, 2021</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a8945f4278b58679835ed4a8b61d91c7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":75945630,"asset_id":63552863,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/75945630/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="63552863"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="63552863"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 63552863; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="41520073"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/41520073/_Transgender_Studies_or_How_to_Do_Things_With_Trans_"><img alt="Research paper thumbnail of "Transgender Studies, or How to Do Things With Trans*"" class="work-thumbnail" src="https://attachments.academia-assets.com/61684432/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41520073/_Transgender_Studies_or_How_to_Do_Things_With_Trans_">"Transgender Studies, or How to Do Things With Trans*"</a></div><div class="wp-workCard_item"><span>Cambridge Companion to Queer Studies</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">What is transgender studies, and what are its major methods? While the field itself is oriented a...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">What is transgender studies, and what are its major methods? While the field itself is oriented against definitive answers to such questions, transgender studies does indeed possess a history and an emergent set of critical tools, both similar to and yet divergent from the more institutionally embraced field of queer studies. Drawing on Janet Halley’s early mapping of each field’s claims as well as Susan Stryker’s characterization of transgender studies as queer theory’s “evil twin,” this essay explores the critical relation enacted between the two fields, tracing relevant points of congruence and tension between their methods. Both like and yet unlike queer studies, trans* studies points up queer theory’s limitations while inverting many of its major premises. Rather than envisioning the fields as opposites, however, this essay seeks to clarify their relation as a fruitful paradox in which each discourse problematizes and yet enlivens the other’s claims. It then concludes by demonstrating some of trans* studies' core methods through a close reading of John Carpenter’s The Thing (1982).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9023c03ed4f0befb68929a05c4951fa1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61684432,"asset_id":41520073,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61684432/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41520073"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41520073"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41520073; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=41520073]").text(description); $(".js-view-count[data-work-id=41520073]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 41520073; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='41520073']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 41520073, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "9023c03ed4f0befb68929a05c4951fa1" } } $('.js-work-strip[data-work-id=41520073]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":41520073,"title":"\"Transgender Studies, or How to Do Things With Trans*\"","translated_title":"","metadata":{"abstract":"What is transgender studies, and what are its major methods? 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data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/39934719/Lana_and_Lilly_Wachowski_Sensing_Transgender"><img alt="Research paper thumbnail of Lana and Lilly Wachowski: Sensing Transgender" class="work-thumbnail" src="https://attachments.academia-assets.com/60121970/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39934719/Lana_and_Lilly_Wachowski_Sensing_Transgender">Lana and Lilly Wachowski: Sensing Transgender</a></div><div class="wp-workCard_item"><span>Lana and Lilly Wachowski: Sensing Transgender</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Lana and Lilly Wachowski have redefined the technically and topically possible while joyfully def...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Lana and Lilly Wachowski have redefined the technically and topically possible while joyfully defying audience expectations. Visionary films like The Matrix trilogy and Cloud Atlas have made them the world's most influential transgender media producers, and their coming-out retroactively put trans* aesthetics at the very center of popular American culture.<br /><br />Cáel M. Keegan views the Wachowskis' films as an approach to trans* experience that maps a transgender journey and the promise we might learn "to sense beyond the limits of the given world." Keegan reveals how the filmmakers take up the relationship between identity and coding (be it computers or genes), inheritance and belonging, and how transgender becoming connects to a utopian vision of a post-racial order. Along the way, he theorizes a trans* aesthetic that explores the plasticity of cinema to create new social worlds, new temporalities, and new sensory inputs and outputs. Film comes to disrupt, rearrange, and evolve the cinematic exchange with the senses in the same manner that trans* disrupts, rearranges, and evolves discrete genders and sexes.<br /><br />"An admirable, focused study of the Wachowski sisters, best known for their postmillennial science fiction films, especially The Matrix franchise....makes a case for considering their work alongside the canon of new queer cinema, despite their exclusion from that corpus at the time of its formation. Highly recommended." --Choice<br /><br />"This captivating book does more than argue persuasively for the centrality of the Wachowskis' oeuvre in the recent history of cinema: it demonstrates how their embodied transgender experience is a central component of their aesthetic vision, and how transgender experience has become paradigmatic of visual semiotic practices in the increasingly ubiquitous digital media environment. Keegan offers lucid close readings of the entire Wachowski filmography, while also mapping generative points of overlap and intersection between cinema studies and trans studies. It makes a significant contribution to both fields."<br />--Susan Stryker, founding coeditor, Transgender Studies Quarterly <br /><br />"This book is a revelation! Leaving behind the more pedestrian methods of examining cinematic narratives of transgender lives, Cael Keegan goes one huge step beyond. With this book on Lana and Lilly Wachowski, we have in our hands the first book to consider the transgender content of the Wachowskis' massively influential cinematic practice. The trans* cinema of the Wachowskis is, according to Keegan, not just disruptive and wildly imaginative, although it is definitely that, it also represents an expansion of the popular imagination and a very different sense of life in and beyond the matrix. Keegan gives a masterful account of the Wachowskis' world and drops his readers down the rabbit hole of a trans* altered reality. Bon voyage."<br />--Jack Halberstam, author of Gaga Feminism: Sex, Gender, and the End of Normal</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f167a4a6dd159fef034b4ded4be9c443" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":60121970,"asset_id":39934719,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/60121970/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39934719"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39934719"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39934719; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39934719]").text(description); $(".js-view-count[data-work-id=39934719]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 39934719; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='39934719']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 39934719, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f167a4a6dd159fef034b4ded4be9c443" } } $('.js-work-strip[data-work-id=39934719]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":39934719,"title":"Lana and Lilly Wachowski: Sensing Transgender","translated_title":"","metadata":{"abstract":"Lana and Lilly Wachowski have redefined the technically and topically possible while joyfully defying audience expectations. 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Keegan gives a masterful account of the Wachowskis' world and drops his readers down the rabbit hole of a trans* altered reality. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="14737097"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/14737097/Lana_and_Lilly_Wachowski_Sensing_Transgender_Introduction"><img alt="Research paper thumbnail of Lana and Lilly Wachowski: Sensing Transgender Introduction" class="work-thumbnail" src="https://attachments.academia-assets.com/58210164/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/14737097/Lana_and_Lilly_Wachowski_Sensing_Transgender_Introduction">Lana and Lilly Wachowski: Sensing Transgender Introduction</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Lana and Lilly Wachowski have redefined the technically and topically possible while joyfully def...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Lana and Lilly Wachowski have redefined the technically and topically possible while joyfully defying audience expectations. Visionary films like The Matrix trilogy and Cloud Atlas have made them the world's most influential transgender media producers, and their coming out retroactively put trans* aesthetics at the very center of popular American culture. Cáel M. Keegan views the Wachowskis films as an approach to trans* experience that maps a transgender journey and the promise we might learn "to sense beyond the limits of the given world." Keegan reveals how the filmmakers take up the relationship between identity and coding (be it computers or genes), inheritance and belonging, and how transgender becoming connects to a utopian vision of a post-racial order. Along the way, he theorizes a trans* aesthetic that explores the plasticity of cinema to create new social worlds, new temporalities, and new sensory inputs and outputs. Film comes to disrupt, rearrange, and evolve the cinematic exchange with the senses in the same manner that trans* disrupts, rearranges, and evolves discrete genders and sexes.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="485b392ddd9b4a17af990a52b2833182" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58210164,"asset_id":14737097,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58210164/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="14737097"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="14737097"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 14737097; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=14737097]").text(description); $(".js-view-count[data-work-id=14737097]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 14737097; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='14737097']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 14737097, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "485b392ddd9b4a17af990a52b2833182" } } $('.js-work-strip[data-work-id=14737097]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":14737097,"title":"Lana and Lilly Wachowski: Sensing Transgender Introduction","translated_title":"","metadata":{"doi":"10.5406/j.ctv80c9bd","abstract":"Lana and Lilly Wachowski have redefined the technically and topically possible while joyfully defying audience expectations. 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$a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="2879946" id="articles"><div class="js-work-strip profile--work_container" data-work-id="76960023"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/76960023/On_the_Necessity_of_Bad_Trans_Objects"><img alt="Research paper thumbnail of On the Necessity of Bad Trans Objects" class="work-thumbnail" src="https://attachments.academia-assets.com/84473651/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/76960023/On_the_Necessity_of_Bad_Trans_Objects">On the Necessity of Bad Trans Objects</a></div><div class="wp-workCard_item"><span>Film Quarterly</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Despite newly affirming images of transgender people proliferating across US visual media, there ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Despite newly affirming images of transgender people proliferating across US visual media, there has been a concomitant rise in anti-transgender attitudes, transphobic legislation, and trans antagonistic violence. The assumption that more and better images of transgender people are key to achieving transgender equality strains under the weight of an emerging contradiction: “good” representation does not necessarily mean reduced social or political antagonism for transgender people. Rather, the emergence of “good” (i.e. marketable) trans media objects illustrates how the most politically challenging aspects of transgender identification are increasingly forced outside the horizon of representability. This essay turns away from “good” transgender representations and toward an archive of recently canceled “bad” transgender media objects, offering new assessments of their unexpected value. Claiming badness as a trans property that must be embraced to achieve sex and gender liberation, it defends bad trans objects as unrecognized sources of transformative potential.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="983c5b8c654b4f0f4613471c486f6c39" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":84473651,"asset_id":76960023,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/84473651/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="76960023"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="76960023"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 76960023; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=76960023]").text(description); $(".js-view-count[data-work-id=76960023]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 76960023; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='76960023']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 76960023, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "983c5b8c654b4f0f4613471c486f6c39" } } $('.js-work-strip[data-work-id=76960023]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":76960023,"title":"On the Necessity of Bad Trans Objects","translated_title":"","metadata":{"doi":"10.1525/fq.2022.75.3.26","abstract":"Despite newly affirming images of transgender people proliferating across US visual media, there has been a concomitant rise in anti-transgender attitudes, transphobic legislation, and trans antagonistic violence. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44406562"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44406562/Against_Queer_Theory"><img alt="Research paper thumbnail of Against Queer Theory" class="work-thumbnail" src="https://attachments.academia-assets.com/64816527/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44406562/Against_Queer_Theory">Against Queer Theory</a></div><div class="wp-workCard_item"><span>Transgender Studies Quarterly</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The author explores how current disciplinary conditions force trans studies against queer theory:...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The author explores how current disciplinary conditions force trans studies against queer theory: Because queer theory is the institutional context through which trans studies is invited into the university, it is also the containing ideological architecture against which trans studies must articulate itself. Trans studies is therefore pressed "against" queer theory as a discursive surface in a manner that limits it from being able to exit this disciplinary scenario.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8b7c5ee0a2c8a366a53d6a852aa730ee" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64816527,"asset_id":44406562,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64816527/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44406562"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44406562"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44406562; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44406562]").text(description); $(".js-view-count[data-work-id=44406562]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44406562; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44406562']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44406562, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8b7c5ee0a2c8a366a53d6a852aa730ee" } } $('.js-work-strip[data-work-id=44406562]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44406562,"title":"Against Queer Theory","translated_title":"","metadata":{"doi":"10.1215/23289252-8552978","abstract":"The author explores how current disciplinary conditions force trans studies against queer theory: Because queer theory is the institutional context through which trans studies is invited into the university, it is also the containing ideological architecture against which trans studies must articulate itself. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="37594828"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37594828/Getting_Disciplined_Whats_Trans_About_Queer_Studies_Now"><img alt="Research paper thumbnail of Getting Disciplined: What's Trans* About Queer Studies Now?" class="work-thumbnail" src="https://attachments.academia-assets.com/57614099/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37594828/Getting_Disciplined_Whats_Trans_About_Queer_Studies_Now">Getting Disciplined: What's Trans* About Queer Studies Now?</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This essay maps the epistemological terrain trans* studies may face as it is widely incorporated ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This essay maps the epistemological terrain trans* studies may face as it is widely incorporated into queer studies programs, often housed within women's studies departments. Over the past two decades, queer studies and women's studies have rapidly professionalized, producing new modes of disciplinary power that may seek to either include or cite trans* studies, often without fully welcoming its specific material and political investments. Under such conditions, trans* studies may find itself heard largely as a "but" —an epistemic blockage, a distraction from proper objects, a hindrance to customary methods—that must be disciplined.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="0dcf4e636b5251a9c6bc84d16a0e736b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57614099,"asset_id":37594828,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57614099/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37594828"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37594828"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37594828; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37594828]").text(description); $(".js-view-count[data-work-id=37594828]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37594828; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37594828']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 37594828, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "0dcf4e636b5251a9c6bc84d16a0e736b" } } $('.js-work-strip[data-work-id=37594828]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37594828,"title":"Getting Disciplined: What's Trans* About Queer Studies Now?","translated_title":"","metadata":{"abstract":"This essay maps the epistemological terrain trans* studies may face as it is widely incorporated into queer studies programs, often housed within women's studies departments. 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class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/36296359/_Cinematic_Trans_Bodies_Now_and_Then_and_to_Come_">"Cinematic/Trans*/Bodies Now (and Then, and to Come)"</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://concordia.academia.edu/C%C3%A1elKeegan">Cáel M Keegan</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://carleton-ca.academia.edu/LauraHorak">Laura Horak</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://maastrichtuniversity.academia.edu/ElizaSteinbock">Eliza Steinbock</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Introduction to Somatechnics 8.1 (March 2018), "Cinematic Bodies." Find the full issue here: http...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Introduction to Somatechnics 8.1 (March 2018), "Cinematic Bodies." Find the full issue here: <a href="https://www.euppublishing.com/toc/soma/current" rel="nofollow">https://www.euppublishing.com/toc/soma/current</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="80f786a7e4ae92893db024928d46bd36" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56203168,"asset_id":36296359,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56203168/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36296359"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa 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href="https://www.academia.edu/33279083/Sense8_Roundtable_Spectator_37_2_Transgender_Media_"><img alt="Research paper thumbnail of Sense8 Roundtable (Spectator 37.2, Transgender Media)" class="work-thumbnail" src="https://attachments.academia-assets.com/53347197/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/33279083/Sense8_Roundtable_Spectator_37_2_Transgender_Media_">Sense8 Roundtable (Spectator 37.2, Transgender Media)</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://concordia.academia.edu/C%C3%A1elKeegan">Cáel M Keegan</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://carleton-ca.academia.edu/LauraHorak">Laura Horak</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://usc.academia.edu/RaffiSarkissian">Raffi Sarkissian</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://pitt.academia.edu/GeneveiveNewman">Geneveive R Newman</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In “Sense8 : A Roundtable,” eight scholars think through key questions regarding one of today’s m...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In “Sense8 : A Roundtable,” eight scholars think through key questions regarding one of today’s most impressive trans-produced mainstream media productions, Lana and Lilly Wachowski’s Netﬂix series Sense8, which has yet to receive substantive scholarly attention. We analyze how Sense8 both follows and breaks from the Wachowskis’ prior approach to narrative; oﬀers a distinctly trans* engagement with the histories of cinematic and televisual genres; often relies on western colonial conceptions for its global imagination and marginalizes characters of color; and theorizes contemporary media spectatorship in its appeal to aﬀect and eroticism. We do so believing Sense8 to be an important cultural interlocutor, not only with regard to the exploration of transgender representation but also questions of sexuality, race, and capital in the global present. However, we also share a conviction that the series’ potentiality still leaves substantial room for growth. We take a critical approach to our collective analysis, seeing in the series a glimmer of the kind of global utopian envisioning very much needed in our ceaselessly dystopian present.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1558622a20bef67037a6ad3936823f2d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":53347197,"asset_id":33279083,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/53347197/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="33279083"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="33279083"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 33279083; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=33279083]").text(description); $(".js-view-count[data-work-id=33279083]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 33279083; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='33279083']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 33279083, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1558622a20bef67037a6ad3936823f2d" } } $('.js-work-strip[data-work-id=33279083]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":33279083,"title":"Sense8 Roundtable (Spectator 37.2, Transgender Media)","translated_title":"","metadata":{"abstract":"In “Sense8 : A Roundtable,” eight scholars think through key questions regarding one of today’s most impressive trans-produced mainstream media productions, Lana and Lilly Wachowski’s Netﬂix series Sense8, which has yet to receive substantive scholarly attention. 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wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/30786151/History_Disrupted_The_aesthetic_gentrification_of_queer_and_trans_cinema">History, Disrupted: The aesthetic gentrification of queer and trans cinema</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This essay connects Sarah Schulman's discussion of aesthetic gentrification in The Gentrification...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This essay connects Sarah Schulman's discussion of aesthetic gentrification in The Gentrification of the Mind with the concept of disruptive innovation to analyse patterns in recent mainstream film exploring LGBTQ histories. Since the Great Recession, LGBTQ cinema in the Global North has become structured by disruptive narrative strategies that reroute the transformative power of queer and transgender histories upward and away from the most at-risk LGBTQ populations. Films such as Dallas Buyers Club, Stonewall, and The Danish Girl purport to represent 'actual' moments in LGBTQ history, but instead appropriate aesthetic space from communities with little to no cultural representation-HIV positive, working-class, and of colour, queer and trans populations-instead offering that space to symbolic gentrifiers. Cultural erasure of AIDS activism and of trans people's important roles in LGBTQ histories and politics are among the most deleterious shared outcomes of this new wave of cinema. This essay contends that historical disruption and resulting aesthetic gentrification of queer and trans cinema in the Global North has potentially global implications for the future of LGBTQ representation.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2f0080b62523a0f2af9beadba7cccc6c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":51220139,"asset_id":30786151,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/51220139/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="30786151"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="30786151"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 30786151; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=30786151]").text(description); $(".js-view-count[data-work-id=30786151]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 30786151; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='30786151']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 30786151, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2f0080b62523a0f2af9beadba7cccc6c" } } $('.js-work-strip[data-work-id=30786151]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":30786151,"title":"History, Disrupted: The aesthetic gentrification of queer and trans cinema","translated_title":"","metadata":{"abstract":"This essay connects Sarah Schulman's discussion of aesthetic gentrification in The Gentrification of the Mind with the concept of disruptive innovation to analyse patterns in recent mainstream film exploring LGBTQ histories. 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This essay contends that historical disruption and resulting aesthetic gentrification of queer and trans cinema in the Global North has potentially global implications for the future of LGBTQ representation."},"translated_abstract":"This essay connects Sarah Schulman's discussion of aesthetic gentrification in The Gentrification of the Mind with the concept of disruptive innovation to analyse patterns in recent mainstream film exploring LGBTQ histories. Since the Great Recession, LGBTQ cinema in the Global North has become structured by disruptive narrative strategies that reroute the transformative power of queer and transgender histories upward and away from the most at-risk LGBTQ populations. Films such as Dallas Buyers Club, Stonewall, and The Danish Girl purport to represent 'actual' moments in LGBTQ history, but instead appropriate aesthetic space from communities with little to no cultural representation-HIV positive, working-class, and of colour, queer and trans populations-instead offering that space to symbolic gentrifiers. Cultural erasure of AIDS activism and of trans people's important roles in LGBTQ histories and politics are among the most deleterious shared outcomes of this new wave of cinema. 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Design","url":"https://www.academia.edu/Documents/in/Urban_Design"},{"id":72394,"name":"LGBT Studies","url":"https://www.academia.edu/Documents/in/LGBT_Studies"},{"id":175096,"name":"Lgbtq","url":"https://www.academia.edu/Documents/in/Lgbtq"},{"id":980525,"name":"Lesbian Gay Bisexual Transgender Studies","url":"https://www.academia.edu/Documents/in/Lesbian_Gay_Bisexual_Transgender_Studies"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="30418561"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/30418561/Tongues_Without_Bodies_The_Wachowskis_Sense8"><img alt="Research paper thumbnail of Tongues Without Bodies: The Wachowskis' Sense8" class="work-thumbnail" src="https://attachments.academia-assets.com/50862860/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/30418561/Tongues_Without_Bodies_The_Wachowskis_Sense8">Tongues Without Bodies: The Wachowskis' Sense8</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Sense8 marks a number of televisual “firsts” in the circulation of trans* as an increasingly tran...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Sense8 marks a number of televisual “firsts” in the circulation of trans* as an increasingly transnational and translingual identity category: It is not only the first television program to feature a transgender character written/directed by a trans creator and acted by a trans performer, but also attempts to visualize a global imaginary in thrilling new ways that revolutionize both the temporality and spatiality of televisual production. In this review, Keegan analyzes Sense8 as a text that simultaneously represents and replicates the conditions of hypermodern globality, discussing how the lingual politics of Sense8 strain against and yet ultimately reproduce the conditions of the (neo)colonial encounter.<br /><br />Keywords: Wachowskis, Sense8, transgender, television, globality</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="cce130671903f21941cc9c1ffd471e86" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":50862860,"asset_id":30418561,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/50862860/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="30418561"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="30418561"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 30418561; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=30418561]").text(description); $(".js-view-count[data-work-id=30418561]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 30418561; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='30418561']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 30418561, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "cce130671903f21941cc9c1ffd471e86" } } $('.js-work-strip[data-work-id=30418561]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":30418561,"title":"Tongues Without Bodies: The Wachowskis' Sense8","translated_title":"","metadata":{"abstract":"Sense8 marks a number of televisual “firsts” in the circulation of trans* as an increasingly transnational and translingual identity category: It is not only the first television program to feature a transgender character written/directed by a trans creator and acted by a trans performer, but also attempts to visualize a global imaginary in thrilling new ways that revolutionize both the temporality and spatiality of televisual production. In this review, Keegan analyzes Sense8 as a text that simultaneously represents and replicates the conditions of hypermodern globality, discussing how the lingual politics of Sense8 strain against and yet ultimately reproduce the conditions of the (neo)colonial encounter.\n\nKeywords: Wachowskis, Sense8, transgender, television, globality \n"},"translated_abstract":"Sense8 marks a number of televisual “firsts” in the circulation of trans* as an increasingly transnational and translingual identity category: It is not only the first television program to feature a transgender character written/directed by a trans creator and acted by a trans performer, but also attempts to visualize a global imaginary in thrilling new ways that revolutionize both the temporality and spatiality of televisual production. In this review, Keegan analyzes Sense8 as a text that simultaneously represents and replicates the conditions of hypermodern globality, discussing how the lingual politics of Sense8 strain against and yet ultimately reproduce the conditions of the (neo)colonial encounter.\n\nKeywords: Wachowskis, Sense8, transgender, television, globality 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href="https://www.academia.edu/30330496/Revisitation_A_transgender_phenomenology_of_the_media_image"><img alt="Research paper thumbnail of Revisitation: A transgender phenomenology of the media image" class="work-thumbnail" src="https://attachments.academia-assets.com/51264320/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/30330496/Revisitation_A_transgender_phenomenology_of_the_media_image">Revisitation: A transgender phenomenology of the media image</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">How might certain moving images move us into transgender becoming? Th e recent proliferation of t...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">How might certain moving images move us into transgender becoming? Th e recent proliferation of transgender images in the media of the Global North has been widely regarded as supporting transgender political and social equality. But do these images do justice to the complexity of transgender lives? Who are images of transgender identity made for, and whose interests do they serve? Instead of discussing media that produce a transgender object for public consumption, this essay's author is interested in theorizing a trans point of media reception for the popular image. Th is essay illustrates how transgender subjects might fashion their own archives of becoming through encounters with media that unintentionally support transgender embodiment as a possibility in the world. Revisiting his phenomeno-logical encounters with the fi lm Under the Skin and the " Milk: It Does a Body Good " ad campaign, the author analyzes how certain media objects have the unexpected power to " move " the transgender subject into becoming.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="267d40b3266a9a9fff08d19dffc422d7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":51264320,"asset_id":30330496,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/51264320/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="30330496"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="30330496"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 30330496; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=30330496]").text(description); $(".js-view-count[data-work-id=30330496]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 30330496; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='30330496']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 30330496, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "267d40b3266a9a9fff08d19dffc422d7" } } $('.js-work-strip[data-work-id=30330496]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":30330496,"title":"Revisitation: A transgender phenomenology of the media image","translated_title":"","metadata":{"abstract":"How might certain moving images move us into transgender becoming? Th e recent proliferation of transgender images in the media of the Global North has been widely regarded as supporting transgender political and social equality. But do these images do justice to the complexity of transgender lives? Who are images of transgender identity made for, and whose interests do they serve? Instead of discussing media that produce a transgender object for public consumption, this essay's author is interested in theorizing a trans point of media reception for the popular image. Th is essay illustrates how transgender subjects might fashion their own archives of becoming through encounters with media that unintentionally support transgender embodiment as a possibility in the world. Revisiting his phenomeno-logical encounters with the fi lm Under the Skin and the \" Milk: It Does a Body Good \" ad campaign, the author analyzes how certain media objects have the unexpected power to \" move \" the transgender subject into becoming."},"translated_abstract":"How might certain moving images move us into transgender becoming? Th e recent proliferation of transgender images in the media of the Global North has been widely regarded as supporting transgender political and social equality. But do these images do justice to the complexity of transgender lives? Who are images of transgender identity made for, and whose interests do they serve? Instead of discussing media that produce a transgender object for public consumption, this essay's author is interested in theorizing a trans point of media reception for the popular image. Th is essay illustrates how transgender subjects might fashion their own archives of becoming through encounters with media that unintentionally support transgender embodiment as a possibility in the world. Revisiting his phenomeno-logical encounters with the fi lm Under the Skin and the \" Milk: It Does a Body Good \" ad campaign, the author analyzes how certain media objects have the unexpected power to \" move \" the transgender subject into becoming.","internal_url":"https://www.academia.edu/30330496/Revisitation_A_transgender_phenomenology_of_the_media_image","translated_internal_url":"","created_at":"2016-12-08T06:37:59.571-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":7876332,"coauthors_can_edit":true,"document_type":"book","co_author_tags":[{"id":26459644,"work_id":30330496,"tagging_user_id":7876332,"tagged_user_id":null,"co_author_invite_id":5579080,"email":"c***n@sfsu.edu","display_order":1,"name":"Cael Keegan","title":"Revisitation: A transgender phenomenology of the media image"}],"downloadable_attachments":[{"id":51264320,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/51264320/thumbnails/1.jpg","file_name":"Revisitation_FinalPROOFmediekultur61.pdf","download_url":"https://www.academia.edu/attachments/51264320/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Revisitation_A_transgender_phenomenology.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/51264320/Revisitation_FinalPROOFmediekultur61-libre.pdf?1483978028=\u0026response-content-disposition=attachment%3B+filename%3DRevisitation_A_transgender_phenomenology.pdf\u0026Expires=1733029345\u0026Signature=Tx5ukk8b0qAHlf4DCC9UKpeBhQk~GIUp39zOYfRXiuxdDfVDYvaIqhfGKi-sbSvMyIZvCB2R7KtiTL1YZ0fon6F0q2KvXc5tzfkxQzuHf~B8vGyEO3Poz5dfgWj5zgxjjMu-LxVapKSWU45OqmD6WC0IlenLJnP2idMzgC~bu4lKZAzB44caBDnbUKvAEKMHvPECUXo2aI4Z1XAClrneEv8s1NvO81BYWfDLH4DAWfBzuI4LeIX0BrCw6xO46ByI8Qpup2BQgL9nohsm~GF4klRkgCR0H4I9l7LXoyRHUSeqQ4yDpI4km2vOrHhFVABzdl3-Gn50mo4ArTULrXeFsQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Revisitation_A_transgender_phenomenology_of_the_media_image","translated_slug":"","page_count":16,"language":"en","content_type":"Work","owner":{"id":7876332,"first_name":"Cáel","middle_initials":"M","last_name":"Keegan","page_name":"CáelKeegan","domain_name":"concordia","created_at":"2013-12-29T01:00:19.390-08:00","display_name":"Cáel M Keegan","url":"https://concordia.academia.edu/C%C3%A1elKeegan"},"attachments":[{"id":51264320,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/51264320/thumbnails/1.jpg","file_name":"Revisitation_FinalPROOFmediekultur61.pdf","download_url":"https://www.academia.edu/attachments/51264320/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Revisitation_A_transgender_phenomenology.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/51264320/Revisitation_FinalPROOFmediekultur61-libre.pdf?1483978028=\u0026response-content-disposition=attachment%3B+filename%3DRevisitation_A_transgender_phenomenology.pdf\u0026Expires=1733029345\u0026Signature=Tx5ukk8b0qAHlf4DCC9UKpeBhQk~GIUp39zOYfRXiuxdDfVDYvaIqhfGKi-sbSvMyIZvCB2R7KtiTL1YZ0fon6F0q2KvXc5tzfkxQzuHf~B8vGyEO3Poz5dfgWj5zgxjjMu-LxVapKSWU45OqmD6WC0IlenLJnP2idMzgC~bu4lKZAzB44caBDnbUKvAEKMHvPECUXo2aI4Z1XAClrneEv8s1NvO81BYWfDLH4DAWfBzuI4LeIX0BrCw6xO46ByI8Qpup2BQgL9nohsm~GF4klRkgCR0H4I9l7LXoyRHUSeqQ4yDpI4km2vOrHhFVABzdl3-Gn50mo4ArTULrXeFsQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies"},{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies"},{"id":699,"name":"Queer Studies","url":"https://www.academia.edu/Documents/in/Queer_Studies"},{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies"},{"id":934,"name":"Media and Cultural Studies","url":"https://www.academia.edu/Documents/in/Media_and_Cultural_Studies"},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies"},{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory"},{"id":2624,"name":"Transgender Studies","url":"https://www.academia.edu/Documents/in/Transgender_Studies"},{"id":3114,"name":"Queer Theory","url":"https://www.academia.edu/Documents/in/Queer_Theory"},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis"},{"id":7024,"name":"Gender","url":"https://www.academia.edu/Documents/in/Gender"},{"id":8694,"name":"Science Fiction","url":"https://www.academia.edu/Documents/in/Science_Fiction"},{"id":12093,"name":"Theories of Gender and Transgender","url":"https://www.academia.edu/Documents/in/Theories_of_Gender_and_Transgender"},{"id":26798,"name":"Transgender","url":"https://www.academia.edu/Documents/in/Transgender"},{"id":65880,"name":"Speculative Fiction","url":"https://www.academia.edu/Documents/in/Speculative_Fiction"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="14300119"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/14300119/On_Being_the_Object_of_Compromise_Bathrooms_and_Trans_Bodies_at_NWSA"><img alt="Research paper thumbnail of On Being the Object of Compromise: Bathrooms and Trans Bodies at NWSA" class="work-thumbnail" src="https://attachments.academia-assets.com/45552705/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/14300119/On_Being_the_Object_of_Compromise_Bathrooms_and_Trans_Bodies_at_NWSA">On Being the Object of Compromise: Bathrooms and Trans Bodies at NWSA</a></div><div class="wp-workCard_item"><span>Transgender Studies Quarterly</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The 2014 National Women’s Studies Association conference specifically solicited trans-feminist ac...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The 2014 National Women’s Studies Association conference specifically solicited trans-feminist academic work through a CFP sub-theme entitled “Trans-Feminisms.” This sub-theme called for work exploring how “trans-feminist analyses help us redefine feminist politics” and discussing “opportunities for coalitions and convergences among trans-feminisms without co-opting self-chosen trans*/gender identifications and/or objectifying trans* people.” Yet when trans attendees arrived at the conference, they encountered a bathroom implementation that reflected negative cultural attitudes about trans people and subjected them to gender policing and potential violence. In this essay, I analyze NWSA’s bathroom “compromise” as a failed strategy that compromised the safety of all conference attendees while raising serious questions about the current viability of political trans-feminist coalition. <br /> <br />Keywords <br />bathrooms, transgender, NWSA, National Women Studies Association, sex segregation, feminism, trans-feminism</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e3d148770618893798a26e9d90e60cf6" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":45552705,"asset_id":14300119,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/45552705/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="14300119"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="14300119"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 14300119; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=14300119]").text(description); $(".js-view-count[data-work-id=14300119]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 14300119; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='14300119']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 14300119, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e3d148770618893798a26e9d90e60cf6" } } $('.js-work-strip[data-work-id=14300119]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":14300119,"title":"On Being the Object of Compromise: Bathrooms and Trans Bodies at NWSA","translated_title":"","metadata":{"abstract":"The 2014 National Women’s Studies Association conference specifically solicited trans-feminist academic work through a CFP sub-theme entitled “Trans-Feminisms.” This sub-theme called for work exploring how “trans-feminist analyses help us redefine feminist politics” and discussing “opportunities for coalitions and convergences among trans-feminisms without co-opting self-chosen trans*/gender identifications and/or objectifying trans* people.” Yet when trans attendees arrived at the conference, they encountered a bathroom implementation that reflected negative cultural attitudes about trans people and subjected them to gender policing and potential violence. In this essay, I analyze NWSA’s bathroom “compromise” as a failed strategy that compromised the safety of all conference attendees while raising serious questions about the current viability of political trans-feminist coalition. \r\n\r\nKeywords\r\nbathrooms, transgender, NWSA, National Women Studies Association, sex segregation, feminism, trans-feminism\r\n","more_info":"Transgender Studies Quarterly 3.1-2: Trans/Feminisms","ai_title_tag":"Trans-Feminism and Bathroom Compromise at NWSA Conference","publication_name":"Transgender Studies Quarterly"},"translated_abstract":"The 2014 National Women’s Studies Association conference specifically solicited trans-feminist academic work through a CFP sub-theme entitled “Trans-Feminisms.” This sub-theme called for work exploring how “trans-feminist analyses help us redefine feminist politics” and discussing “opportunities for coalitions and convergences among trans-feminisms without co-opting self-chosen trans*/gender identifications and/or objectifying trans* people.” Yet when trans attendees arrived at the conference, they encountered a bathroom implementation that reflected negative cultural attitudes about trans people and subjected them to gender policing and potential violence. In this essay, I analyze NWSA’s bathroom “compromise” as a failed strategy that compromised the safety of all conference attendees while raising serious questions about the current viability of political trans-feminist coalition. \r\n\r\nKeywords\r\nbathrooms, transgender, NWSA, National Women Studies Association, sex segregation, feminism, trans-feminism\r\n","internal_url":"https://www.academia.edu/14300119/On_Being_the_Object_of_Compromise_Bathrooms_and_Trans_Bodies_at_NWSA","translated_internal_url":"","created_at":"2015-07-22T09:48:03.827-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":7876332,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[],"downloadable_attachments":[{"id":45552705,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/45552705/thumbnails/1.jpg","file_name":"TSQ-2016-Keegan-150-7.pdf","download_url":"https://www.academia.edu/attachments/45552705/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"On_Being_the_Object_of_Compromise_Bathro.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/45552705/TSQ-2016-Keegan-150-7-libre.pdf?1463005614=\u0026response-content-disposition=attachment%3B+filename%3DOn_Being_the_Object_of_Compromise_Bathro.pdf\u0026Expires=1733029345\u0026Signature=bW2q6vRIPbWHp2~4mPLGzLgs3DjNBqgUPgUx9KbB0wB7~lhz4vGnJ8xrjo0Kkgu7bXc-yLpOFD8Rs41SRbe8kCmXnNIFv~o6Ps9M7-1rdXl6-YFQZXOyfNC8owURgIq33H6UUPcYqnp1~WCIUw30CgV1JkDnetJv~XZIvWKh5eMXE~cDguu3ZxCLdVl1ziUeWO9n~mzgvmrcoL-pH1oHDBWGtuuzBRiybsITG1xl17ClNvY37rMp4Ce4jaW8iwGG56KebQGV4mA~dqNFfT0DiyuKNl7ARYN6u7fwAV5mHY6vm3rs80r8aeIvjpByce6n~IVZSqRYXbY2CYlMaZUotA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"On_Being_the_Object_of_Compromise_Bathrooms_and_Trans_Bodies_at_NWSA","translated_slug":"","page_count":8,"language":"en","content_type":"Work","owner":{"id":7876332,"first_name":"Cáel","middle_initials":"M","last_name":"Keegan","page_name":"CáelKeegan","domain_name":"concordia","created_at":"2013-12-29T01:00:19.390-08:00","display_name":"Cáel M Keegan","url":"https://concordia.academia.edu/C%C3%A1elKeegan"},"attachments":[{"id":45552705,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/45552705/thumbnails/1.jpg","file_name":"TSQ-2016-Keegan-150-7.pdf","download_url":"https://www.academia.edu/attachments/45552705/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"On_Being_the_Object_of_Compromise_Bathro.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/45552705/TSQ-2016-Keegan-150-7-libre.pdf?1463005614=\u0026response-content-disposition=attachment%3B+filename%3DOn_Being_the_Object_of_Compromise_Bathro.pdf\u0026Expires=1733029345\u0026Signature=bW2q6vRIPbWHp2~4mPLGzLgs3DjNBqgUPgUx9KbB0wB7~lhz4vGnJ8xrjo0Kkgu7bXc-yLpOFD8Rs41SRbe8kCmXnNIFv~o6Ps9M7-1rdXl6-YFQZXOyfNC8owURgIq33H6UUPcYqnp1~WCIUw30CgV1JkDnetJv~XZIvWKh5eMXE~cDguu3ZxCLdVl1ziUeWO9n~mzgvmrcoL-pH1oHDBWGtuuzBRiybsITG1xl17ClNvY37rMp4Ce4jaW8iwGG56KebQGV4mA~dqNFfT0DiyuKNl7ARYN6u7fwAV5mHY6vm3rs80r8aeIvjpByce6n~IVZSqRYXbY2CYlMaZUotA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies"},{"id":699,"name":"Queer Studies","url":"https://www.academia.edu/Documents/in/Queer_Studies"},{"id":1372,"name":"Architecture","url":"https://www.academia.edu/Documents/in/Architecture"},{"id":2624,"name":"Transgender Studies","url":"https://www.academia.edu/Documents/in/Transgender_Studies"},{"id":3114,"name":"Queer Theory","url":"https://www.academia.edu/Documents/in/Queer_Theory"},{"id":4917,"name":"Gender and Sexuality","url":"https://www.academia.edu/Documents/in/Gender_and_Sexuality"},{"id":7024,"name":"Gender","url":"https://www.academia.edu/Documents/in/Gender"},{"id":10453,"name":"Feminism","url":"https://www.academia.edu/Documents/in/Feminism"},{"id":12093,"name":"Theories of Gender and Transgender","url":"https://www.academia.edu/Documents/in/Theories_of_Gender_and_Transgender"},{"id":85606,"name":"Transfeminism","url":"https://www.academia.edu/Documents/in/Transfeminism"},{"id":657792,"name":"Womens and Gender Studies","url":"https://www.academia.edu/Documents/in/Womens_and_Gender_Studies"},{"id":980525,"name":"Lesbian Gay Bisexual Transgender Studies","url":"https://www.academia.edu/Documents/in/Lesbian_Gay_Bisexual_Transgender_Studies"},{"id":1723635,"name":"Public Policy","url":"https://www.academia.edu/Documents/in/Public_Policy"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="13444457"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/13444457/Emptying_the_Future_Queer_Melodramatics_and_Negative_Utopia_on_Buffy_the_Vampire_Slayer"><img alt="Research paper thumbnail of Emptying the Future: Queer Melodramatics and Negative Utopia on Buffy the Vampire Slayer" class="work-thumbnail" src="https://attachments.academia-assets.com/44805014/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/13444457/Emptying_the_Future_Queer_Melodramatics_and_Negative_Utopia_on_Buffy_the_Vampire_Slayer">Emptying the Future: Queer Melodramatics and Negative Utopia on Buffy the Vampire Slayer</a></div><div class="wp-workCard_item"><span>Queer Studies in Media and Popular Culture</span><span>, 2015</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Why should we still care about Buffy the Vampire Slayer? With over two hundred scholarly articles...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Why should we still care about Buffy the Vampire Slayer? With over two hundred scholarly articles, a yearly conference, and an academic journal devoted to its study, Buffy has been well-explored. Yet compared to current broadcast programming, the show continues to stand out as an uncommonly radical mainstream text. Since Buffy’s last airing, realist images of the “good gay citizen” have proliferated across American broadcast television, depicting lesbian and gay characters as assimilated extensions of the bourgeois heteronormative family and its consumer practices. In contrast, Buffy offers viewers a melodramatic and queerly negative popular aesthetic of the sort that barely exists today. In this essay, the author returns to Buffy and its darkly queer hero, Willow Rosenberg, as indicators of utopian possibilities forgotten - hopefully not yet lost. <br /> <br />Keywords: Buffy the Vampire Slayer, queer, melodrama, homonormativity, utopia, negativity, futurity</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d2157cbcb2218114bc7921771842f4f4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":44805014,"asset_id":13444457,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/44805014/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="13444457"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="13444457"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 13444457; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=13444457]").text(description); $(".js-view-count[data-work-id=13444457]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 13444457; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='13444457']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 13444457, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d2157cbcb2218114bc7921771842f4f4" } } $('.js-work-strip[data-work-id=13444457]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":13444457,"title":"Emptying the Future: Queer Melodramatics and Negative Utopia on Buffy the Vampire Slayer","translated_title":"","metadata":{"abstract":"Why should we still care about Buffy the Vampire Slayer? With over two hundred scholarly articles, a yearly conference, and an academic journal devoted to its study, Buffy has been well-explored. Yet compared to current broadcast programming, the show continues to stand out as an uncommonly radical mainstream text. Since Buffy’s last airing, realist images of the “good gay citizen” have proliferated across American broadcast television, depicting lesbian and gay characters as assimilated extensions of the bourgeois heteronormative family and its consumer practices. In contrast, Buffy offers viewers a melodramatic and queerly negative popular aesthetic of the sort that barely exists today. In this essay, the author returns to Buffy and its darkly queer hero, Willow Rosenberg, as indicators of utopian possibilities forgotten - hopefully not yet lost. \r\n\r\nKeywords: Buffy the Vampire Slayer, queer, melodrama, homonormativity, utopia, negativity, futurity\r\n","more_info":"Forthcoming in the first issue of Queer Studies in Media and Popular Culture ","publication_date":{"day":null,"month":null,"year":2015,"errors":{}},"publication_name":"Queer Studies in Media and Popular Culture"},"translated_abstract":"Why should we still care about Buffy the Vampire Slayer? With over two hundred scholarly articles, a yearly conference, and an academic journal devoted to its study, Buffy has been well-explored. Yet compared to current broadcast programming, the show continues to stand out as an uncommonly radical mainstream text. Since Buffy’s last airing, realist images of the “good gay citizen” have proliferated across American broadcast television, depicting lesbian and gay characters as assimilated extensions of the bourgeois heteronormative family and its consumer practices. In contrast, Buffy offers viewers a melodramatic and queerly negative popular aesthetic of the sort that barely exists today. In this essay, the author returns to Buffy and its darkly queer hero, Willow Rosenberg, as indicators of utopian possibilities forgotten - hopefully not yet lost. \r\n\r\nKeywords: Buffy the Vampire Slayer, queer, melodrama, homonormativity, utopia, negativity, futurity\r\n","internal_url":"https://www.academia.edu/13444457/Emptying_the_Future_Queer_Melodramatics_and_Negative_Utopia_on_Buffy_the_Vampire_Slayer","translated_internal_url":"","created_at":"2015-06-30T06:50:33.593-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":7876332,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[],"downloadable_attachments":[{"id":44805014,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/44805014/thumbnails/1.jpg","file_name":"Keegan_Emptying_the_Future_Official.pdf","download_url":"https://www.academia.edu/attachments/44805014/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Emptying_the_Future_Queer_Melodramatics.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/44805014/Keegan_Emptying_the_Future_Official-libre.pdf?1460848462=\u0026response-content-disposition=attachment%3B+filename%3DEmptying_the_Future_Queer_Melodramatics.pdf\u0026Expires=1733029345\u0026Signature=OY~aCbkwHocgUuG-XvpJUw3U9IMTOUo8M7aGRP2S9u3ZtOYPFry~tSXLPsBxcHWoj5Ua6PVFYf3~V~tsNbNF4T9E-rE-ObGMN7~fN5WGfc~G~Q7GWUIB~eAsGJOkREhD5ldVTqK1fBzLQ8V1NkmN~V0JzMi0~QZWlTEEzETWCmCDb0TwlPwGtcbE8QPVa9-PY~90jX36jnObcuw0GuA-GZNR91G1TxN2SkJ78iNnx2ATIZxjnGx5KhlAO8-5auA8IEUyOI9zK~ib45rqq51Ion-6w4SeCQG2S0px4P6WoEDo7vf8G5gTetPlc71t2KIrwbmppvR7MRGqEDRy0TfDvg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Emptying_the_Future_Queer_Melodramatics_and_Negative_Utopia_on_Buffy_the_Vampire_Slayer","translated_slug":"","page_count":14,"language":"en","content_type":"Work","owner":{"id":7876332,"first_name":"Cáel","middle_initials":"M","last_name":"Keegan","page_name":"CáelKeegan","domain_name":"concordia","created_at":"2013-12-29T01:00:19.390-08:00","display_name":"Cáel M Keegan","url":"https://concordia.academia.edu/C%C3%A1elKeegan"},"attachments":[{"id":44805014,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/44805014/thumbnails/1.jpg","file_name":"Keegan_Emptying_the_Future_Official.pdf","download_url":"https://www.academia.edu/attachments/44805014/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Emptying_the_Future_Queer_Melodramatics.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/44805014/Keegan_Emptying_the_Future_Official-libre.pdf?1460848462=\u0026response-content-disposition=attachment%3B+filename%3DEmptying_the_Future_Queer_Melodramatics.pdf\u0026Expires=1733029345\u0026Signature=OY~aCbkwHocgUuG-XvpJUw3U9IMTOUo8M7aGRP2S9u3ZtOYPFry~tSXLPsBxcHWoj5Ua6PVFYf3~V~tsNbNF4T9E-rE-ObGMN7~fN5WGfc~G~Q7GWUIB~eAsGJOkREhD5ldVTqK1fBzLQ8V1NkmN~V0JzMi0~QZWlTEEzETWCmCDb0TwlPwGtcbE8QPVa9-PY~90jX36jnObcuw0GuA-GZNR91G1TxN2SkJ78iNnx2ATIZxjnGx5KhlAO8-5auA8IEUyOI9zK~ib45rqq51Ion-6w4SeCQG2S0px4P6WoEDo7vf8G5gTetPlc71t2KIrwbmppvR7MRGqEDRy0TfDvg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies"},{"id":390,"name":"American Studies","url":"https://www.academia.edu/Documents/in/American_Studies"},{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies"},{"id":699,"name":"Queer Studies","url":"https://www.academia.edu/Documents/in/Queer_Studies"},{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies"},{"id":1571,"name":"Television Studies","url":"https://www.academia.edu/Documents/in/Television_Studies"},{"id":2858,"name":"Popular Culture","url":"https://www.academia.edu/Documents/in/Popular_Culture"},{"id":3114,"name":"Queer Theory","url":"https://www.academia.edu/Documents/in/Queer_Theory"},{"id":4498,"name":"Utopian Studies","url":"https://www.academia.edu/Documents/in/Utopian_Studies"},{"id":4917,"name":"Gender and Sexuality","url":"https://www.academia.edu/Documents/in/Gender_and_Sexuality"},{"id":7024,"name":"Gender","url":"https://www.academia.edu/Documents/in/Gender"},{"id":10885,"name":"Fantasy Literature","url":"https://www.academia.edu/Documents/in/Fantasy_Literature"},{"id":14382,"name":"Buffy the Vampire Slayer","url":"https://www.academia.edu/Documents/in/Buffy_the_Vampire_Slayer"},{"id":20667,"name":"Science Fiction and Fantasy","url":"https://www.academia.edu/Documents/in/Science_Fiction_and_Fantasy"},{"id":184170,"name":"Buffy Studies","url":"https://www.academia.edu/Documents/in/Buffy_Studies"}],"urls":[{"id":4916873,"url":"http://www.intellectbooks.co.uk/journals/view-Journal,id=245/"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="10649769"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/10649769/Looking_Transparent"><img alt="Research paper thumbnail of Looking Transparent" class="work-thumbnail" src="https://attachments.academia-assets.com/44805031/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/10649769/Looking_Transparent">Looking Transparent</a></div><div class="wp-workCard_item"><span>Studies in Gender and Sexuality: Special Issue "Looking (at Sexuality and Gender) Now"</span><span>, Jun 9, 2015</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Backward glances make transparent the neoliberal lures of inclusion and equality. They search, in...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Backward glances make transparent the neoliberal lures of inclusion and equality. They search, instead, for something better. But how do we look backward when our turning back is turned around by the promise of happiness, which “keeps its place as a wish by its failure to be given?” (Ahmed, 2010, p. 1) Since at least the Gold Rush, California has held out to queers the promise of a bright future that has required us to look away from the state’s colonized reality. Both Looking and Transparent explore California as a primary site for negotiating 21st-century queer nostalgia and dispossession.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2ea10fa2cd3c9e1affb679b29f84878c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":44805031,"asset_id":10649769,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/44805031/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="10649769"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="10649769"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10649769; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=10649769]").text(description); $(".js-view-count[data-work-id=10649769]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 10649769; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='10649769']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 10649769, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2ea10fa2cd3c9e1affb679b29f84878c" } } $('.js-work-strip[data-work-id=10649769]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":10649769,"title":"Looking Transparent","translated_title":"","metadata":{"abstract":"Backward glances make transparent the neoliberal lures of inclusion and equality. 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But how do we look backward when our turning back is turned around by the promise of happiness, which “keeps its place as a wish by its failure to be given?” (Ahmed, 2010, p. 1) Since at least the Gold Rush, California has held out to queers the promise of a bright future that has required us to look away from the state’s colonized reality. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="7220088"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/7220088/Queer_Sensations_Postwar_American_Melodrama_and_the_Crisis_of_Queer_Juvenility"><img alt="Research paper thumbnail of Queer Sensations: Postwar American Melodrama and the Crisis of Queer Juvenility" class="work-thumbnail" src="https://attachments.academia-assets.com/33842690/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/7220088/Queer_Sensations_Postwar_American_Melodrama_and_the_Crisis_of_Queer_Juvenility">Queer Sensations: Postwar American Melodrama and the Crisis of Queer Juvenility</a></div><div class="wp-workCard_item"><span>Thymos: The Journal of Boyhood Studies</span><span>, Nov 30, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This essay examines the melodramatic genre convention of the “sensation scene” as a vehicle for t...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This essay examines the melodramatic genre convention of the “sensation scene” as a vehicle for the representation of queer crises in American juvenility during the postwar era. Through popular cinema, the nation aesthetically organized and communicated concerns about the production of “fit” masculine and heterosexual juveniles, who would be capable of carrying out the postwar expansion of American democratic and capitalist ideologies. During an era in which heightened policing of sexual and gendered behavior began to replace racialization as a major obstacle to full American citizenship, postwar American films reflect new obsessions with the developmental tracking of male juveniles into proper manhood, and out of/away from queer “phases” or “tendencies” that would delay or prevent the achievement of ethical adulthood. In this essay, I read two signature postwar-era melodramas, Rebel Without a Cause and Tea and Sympathy, as containing defining examples of what I call a “queer sensation scene”: a scene that signals the potentially tragic failure to achieve correctly embodied male citizenship in the nation. In both Rebel and Tea, the queer sensation scene appears as an affective point through which codes of developmental citizenship are deployed, consumed, and reinforced, generating symbolic pathways that justified the institutional “sorting” of male youth according to quality and ability. The result is a popular cinematic rhetoric in which the emergent citizenship of white, heterosexually conforming male juveniles is prefigured through the failure of other, less “fit” queer masculinities. In conclusion, I argue that this genre device continues to structure popular representations of and common thinking about the relative value of young, male American lives.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5c6064fb8512134f41ea2b1247d471fb" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":33842690,"asset_id":7220088,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/33842690/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7220088"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7220088"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7220088; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7220088]").text(description); $(".js-view-count[data-work-id=7220088]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7220088; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7220088']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 7220088, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "5c6064fb8512134f41ea2b1247d471fb" } } $('.js-work-strip[data-work-id=7220088]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7220088,"title":"Queer Sensations: Postwar American Melodrama and the Crisis of Queer Juvenility","translated_title":"","metadata":{"abstract":"This essay examines the melodramatic genre convention of the “sensation scene” as a vehicle for the representation of queer crises in American juvenility during the postwar era. 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In both Rebel and Tea, the queer sensation scene appears as an affective point through which codes of developmental citizenship are deployed, consumed, and reinforced, generating symbolic pathways that justified the institutional “sorting” of male youth according to quality and ability. The result is a popular cinematic rhetoric in which the emergent citizenship of white, heterosexually conforming male juveniles is prefigured through the failure of other, less “fit” queer masculinities. In conclusion, I argue that this genre device continues to structure popular representations of and common thinking about the relative value of young, male American lives. ","publication_date":{"day":30,"month":11,"year":2013,"errors":{}},"publication_name":"Thymos: The Journal of Boyhood Studies"},"translated_abstract":"This essay examines the melodramatic genre convention of the “sensation scene” as a vehicle for the representation of queer crises in American juvenility during the postwar era. 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In both Rebel and Tea, the queer sensation scene appears as an affective point through which codes of developmental citizenship are deployed, consumed, and reinforced, generating symbolic pathways that justified the institutional “sorting” of male youth according to quality and ability. The result is a popular cinematic rhetoric in which the emergent citizenship of white, heterosexually conforming male juveniles is prefigured through the failure of other, less “fit” queer masculinities. In conclusion, I argue that this genre device continues to structure popular representations of and common thinking about the relative value of young, male American lives. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="7220040"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/7220040/Moving_Bodies_Sympathetic_Migrations_in_Transgender_Narrativity"><img alt="Research paper thumbnail of Moving Bodies: Sympathetic Migrations in Transgender Narrativity" class="work-thumbnail" src="https://attachments.academia-assets.com/57389571/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/7220040/Moving_Bodies_Sympathetic_Migrations_in_Transgender_Narrativity">Moving Bodies: Sympathetic Migrations in Transgender Narrativity</a></div><div class="wp-workCard_item"><span>Genders</span><span>, Jun 1, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This paper theorizes the mainstream representation of the transgender body as an emerging politic...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This paper theorizes the mainstream representation of the transgender body as an emerging political construct that is sutured, through coded forms of mediated consumerism, to specific structures of feeling. In popular transgender narrativity, transgender difference is commonly depicted as an experience of prescribed affect: the trans* body is fashioned as one that “feels bad”—a dysphoric body. Transgender identity is therefore framed as a mode of feeling, and “fixing” trans* difference is understood as a migration out of the negativity that transgender people feel—and make others feel—about their corporeality. This paper examines the political effect of sympathetic popular representations of transgender difference on the actual possibilities for trans* justice and recognition. A new form of ideal, “progressive” citizenship becomes available for consumption through the “moving body” of this hegemonic transgender sign, the emerging transnormative subject.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1d2407afffe863ad3c421b23aba0e5c3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57389571,"asset_id":7220040,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57389571/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7220040"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7220040"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7220040; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7220040]").text(description); $(".js-view-count[data-work-id=7220040]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7220040; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7220040']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 7220040, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1d2407afffe863ad3c421b23aba0e5c3" } } $('.js-work-strip[data-work-id=7220040]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7220040,"title":"Moving Bodies: Sympathetic Migrations in Transgender Narrativity","translated_title":"","metadata":{"abstract":"This paper theorizes the mainstream representation of the transgender body as an emerging political construct that is sutured, through coded forms of mediated consumerism, to specific structures of feeling. In popular transgender narrativity, transgender difference is commonly depicted as an experience of prescribed affect: the trans* body is fashioned as one that “feels bad”—a dysphoric body. Transgender identity is therefore framed as a mode of feeling, and “fixing” trans* difference is understood as a migration out of the negativity that transgender people feel—and make others feel—about their corporeality. This paper examines the political effect of sympathetic popular representations of transgender difference on the actual possibilities for trans* justice and recognition. A new form of ideal, “progressive” citizenship becomes available for consumption through the “moving body” of this hegemonic transgender sign, the emerging transnormative subject. \r\n \r\n","publication_date":{"day":1,"month":6,"year":2013,"errors":{}},"publication_name":"Genders"},"translated_abstract":"This paper theorizes the mainstream representation of the transgender body as an emerging political construct that is sutured, through coded forms of mediated consumerism, to specific structures of feeling. In popular transgender narrativity, transgender difference is commonly depicted as an experience of prescribed affect: the trans* body is fashioned as one that “feels bad”—a dysphoric body. Transgender identity is therefore framed as a mode of feeling, and “fixing” trans* difference is understood as a migration out of the negativity that transgender people feel—and make others feel—about their corporeality. This paper examines the political effect of sympathetic popular representations of transgender difference on the actual possibilities for trans* justice and recognition. A new form of ideal, “progressive” citizenship becomes available for consumption through the “moving body” of this hegemonic transgender sign, the emerging transnormative subject. \r\n \r\n","internal_url":"https://www.academia.edu/7220040/Moving_Bodies_Sympathetic_Migrations_in_Transgender_Narrativity","translated_internal_url":"","created_at":"2014-06-01T02:17:40.330-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":7876332,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[],"downloadable_attachments":[{"id":57389571,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/57389571/thumbnails/1.jpg","file_name":"Moving_bodies_sympathetic_migr.pdf","download_url":"https://www.academia.edu/attachments/57389571/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Moving_Bodies_Sympathetic_Migrations_in.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/57389571/Moving_bodies_sympathetic_migr-libre.pdf?1537101682=\u0026response-content-disposition=attachment%3B+filename%3DMoving_Bodies_Sympathetic_Migrations_in.pdf\u0026Expires=1733029345\u0026Signature=fB~8oJRXfd2EOOkrVlO~i3Mnw7YekOeb4a4llVG37UIbCgONwdtVkH5J1p2aLsMpHmIK~g~F7eOcPaBzwUWfx1RJIhjPXyHb6Hpsx-uPSuql-gjptMpMpSRbHZ7CpfHHEFrBchM0XRKBT7UeUYDN-SyIngLH9Cq5~7pnomZhHZwZFx0dXhTJASB7EICvv2s4EtjF3q6rtFEJwbA47o6D7BBKuHVq6iAaXfS9rHxGCnzzElO8zf8MxCHCFRjR9JwO~n5D0nhFyYEPX3MGIkQdLxsvHVBROQmAJj4fhf09ShZFo6-ZWgyAxfqQD~GVGZc7i8mkzczQu4sEEJSk3GieSg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Moving_Bodies_Sympathetic_Migrations_in_Transgender_Narrativity","translated_slug":"","page_count":7,"language":"en","content_type":"Work","owner":{"id":7876332,"first_name":"Cáel","middle_initials":"M","last_name":"Keegan","page_name":"CáelKeegan","domain_name":"concordia","created_at":"2013-12-29T01:00:19.390-08:00","display_name":"Cáel M Keegan","url":"https://concordia.academia.edu/C%C3%A1elKeegan"},"attachments":[{"id":57389571,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/57389571/thumbnails/1.jpg","file_name":"Moving_bodies_sympathetic_migr.pdf","download_url":"https://www.academia.edu/attachments/57389571/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Moving_Bodies_Sympathetic_Migrations_in.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/57389571/Moving_bodies_sympathetic_migr-libre.pdf?1537101682=\u0026response-content-disposition=attachment%3B+filename%3DMoving_Bodies_Sympathetic_Migrations_in.pdf\u0026Expires=1733029345\u0026Signature=fB~8oJRXfd2EOOkrVlO~i3Mnw7YekOeb4a4llVG37UIbCgONwdtVkH5J1p2aLsMpHmIK~g~F7eOcPaBzwUWfx1RJIhjPXyHb6Hpsx-uPSuql-gjptMpMpSRbHZ7CpfHHEFrBchM0XRKBT7UeUYDN-SyIngLH9Cq5~7pnomZhHZwZFx0dXhTJASB7EICvv2s4EtjF3q6rtFEJwbA47o6D7BBKuHVq6iAaXfS9rHxGCnzzElO8zf8MxCHCFRjR9JwO~n5D0nhFyYEPX3MGIkQdLxsvHVBROQmAJj4fhf09ShZFo6-ZWgyAxfqQD~GVGZc7i8mkzczQu4sEEJSk3GieSg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies"},{"id":390,"name":"American Studies","url":"https://www.academia.edu/Documents/in/American_Studies"},{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies"},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies"},{"id":1571,"name":"Television Studies","url":"https://www.academia.edu/Documents/in/Television_Studies"},{"id":2624,"name":"Transgender Studies","url":"https://www.academia.edu/Documents/in/Transgender_Studies"},{"id":2858,"name":"Popular Culture","url":"https://www.academia.edu/Documents/in/Popular_Culture"},{"id":4917,"name":"Gender and Sexuality","url":"https://www.academia.edu/Documents/in/Gender_and_Sexuality"},{"id":7024,"name":"Gender","url":"https://www.academia.edu/Documents/in/Gender"},{"id":12093,"name":"Theories of Gender and Transgender","url":"https://www.academia.edu/Documents/in/Theories_of_Gender_and_Transgender"},{"id":27903,"name":"Affect (Cultural Theory)","url":"https://www.academia.edu/Documents/in/Affect_Cultural_Theory_"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="7220118"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/7220118/Household_Remedies_New_Narratives_of_Queer_Containment_in_the_Television_Movie"><img alt="Research paper thumbnail of Household Remedies: New Narratives of Queer Containment in the Television Movie" class="work-thumbnail" src="https://attachments.academia-assets.com/33842720/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/7220118/Household_Remedies_New_Narratives_of_Queer_Containment_in_the_Television_Movie">Household Remedies: New Narratives of Queer Containment in the Television Movie</a></div><div class="wp-workCard_item"><span>Journal of Lesbian Studies</span><span>, 2006</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">What constitutes lesbian identity and who gets to define and/or inhabit such an identity in a pos...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">What constitutes lesbian identity and who gets to define and/or inhabit such an identity in a postmodern, mediated world? This article addresses how the structure of televisual discourse restricts and streamlines “lesbian” representations in television movies. The supposed “progress” of appearing in the virtual public spaces of television and print media may fulfill the queer impulse for visibility in opposition to cultural silence, but it may also come at the price of a depoliticization of queer life and erotic resistance. Taking notice of which deployments of “queerness” are created and supported by the text of the  television movie, this article seeks insight into how the queer body and queer identity are being hegemonically reconstructed for consumption by this media form.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1a7c6a866a4b7bffcb7cb09cb35dbbc7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":33842720,"asset_id":7220118,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/33842720/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7220118"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7220118"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7220118; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7220118]").text(description); $(".js-view-count[data-work-id=7220118]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7220118; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7220118']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 7220118, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1a7c6a866a4b7bffcb7cb09cb35dbbc7" } } $('.js-work-strip[data-work-id=7220118]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7220118,"title":"Household Remedies: New Narratives of Queer Containment in the Television Movie","translated_title":"","metadata":{"abstract":"What constitutes lesbian identity and who gets to define and/or inhabit such an identity in a postmodern, mediated world? This article addresses how the structure of televisual discourse restricts and streamlines “lesbian” representations in television movies. The supposed “progress” of appearing in the virtual public spaces of television and print media may fulfill the queer impulse for visibility in opposition to cultural silence, but it may also come at the price of a depoliticization of queer life and erotic resistance. Taking notice of which deployments of “queerness” are created and supported by the text of the television movie, this article seeks insight into how the queer body and queer identity are being hegemonically reconstructed for consumption by this media form.","publication_date":{"day":null,"month":null,"year":2006,"errors":{}},"publication_name":"Journal of Lesbian Studies"},"translated_abstract":"What constitutes lesbian identity and who gets to define and/or inhabit such an identity in a postmodern, mediated world? This article addresses how the structure of televisual discourse restricts and streamlines “lesbian” representations in television movies. The supposed “progress” of appearing in the virtual public spaces of television and print media may fulfill the queer impulse for visibility in opposition to cultural silence, but it may also come at the price of a depoliticization of queer life and erotic resistance. Taking notice of which deployments of “queerness” are created and supported by the text of the television movie, this article seeks insight into how the queer body and queer identity are being hegemonically reconstructed for consumption by this media form.","internal_url":"https://www.academia.edu/7220118/Household_Remedies_New_Narratives_of_Queer_Containment_in_the_Television_Movie","translated_internal_url":"","created_at":"2014-06-01T02:25:01.497-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":7876332,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[],"downloadable_attachments":[{"id":33842720,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/33842720/thumbnails/1.jpg","file_name":"Household_Remedies.pdf","download_url":"https://www.academia.edu/attachments/33842720/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Household_Remedies_New_Narratives_of_Que.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/33842720/Household_Remedies-libre.pdf?1401614727=\u0026response-content-disposition=attachment%3B+filename%3DHousehold_Remedies_New_Narratives_of_Que.pdf\u0026Expires=1733029345\u0026Signature=JtN0b1LHqxQ6FgH~hFmN7lH3WSUvTDMATBcbE1lyMVTObddd0CMHyrynMW1Ou8yDNT~UUiYZ~N-6GGrE3PKVh--qMbU1V5xFlu80xZQ5N4eL6xQvLHa1s4VfY5RX4VZwwipB3FiUuD3sI9drXft5qoihVRBkUx9IkC9-Ug~6XrxLmne9luvA243-6CgSqQD5VN~SaAIjTrJapLo3bjVH4nZPYvOEoA2Ra1UVZif6aIT0rGxzqGADgvZj1rPaHP55sgnlFrIULGj231KLtxxwYjLA7oNUsTTQAAwo5RuiRTzWECTKiRKPIIMRMAFzFsVNuZ2yoSfNfyJ6lF4Qd-943w__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Household_Remedies_New_Narratives_of_Queer_Containment_in_the_Television_Movie","translated_slug":"","page_count":18,"language":"en","content_type":"Work","owner":{"id":7876332,"first_name":"Cáel","middle_initials":"M","last_name":"Keegan","page_name":"CáelKeegan","domain_name":"concordia","created_at":"2013-12-29T01:00:19.390-08:00","display_name":"Cáel M Keegan","url":"https://concordia.academia.edu/C%C3%A1elKeegan"},"attachments":[{"id":33842720,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/33842720/thumbnails/1.jpg","file_name":"Household_Remedies.pdf","download_url":"https://www.academia.edu/attachments/33842720/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Household_Remedies_New_Narratives_of_Que.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/33842720/Household_Remedies-libre.pdf?1401614727=\u0026response-content-disposition=attachment%3B+filename%3DHousehold_Remedies_New_Narratives_of_Que.pdf\u0026Expires=1733029346\u0026Signature=MvbRy4mIOv2QiBsDA0nNb10zL1GWNUKaR0~GZyX-WlwW8a7FK9Qvvqqz4DaBMB6a9duTCBewt2RIkliWWBRsdvdlmaQSz4MfI9VkJpHMoL4hBVyA-5IlhD016NboC~favDQ2yxG2Z34h-uOwyJUl4P2tDye8zmWxm7dgvR2N1qo9Mb3RTwCJX00JVy~3lX7HQMx9xWPN-jld7E1shq1QqMj9VGOQj6YRr7rjN7~UgHMrO6aVj2uflOUYRRe0z1YIs~csPeVPZRzQQx14WPxTO5Gq5zAXrRpXgLFpv~euiKRjmhUp5sqEHp3aVMLKT4O6PP1g5Rn71Y92jnjR6a52xg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies"},{"id":390,"name":"American Studies","url":"https://www.academia.edu/Documents/in/American_Studies"},{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies"},{"id":699,"name":"Queer Studies","url":"https://www.academia.edu/Documents/in/Queer_Studies"},{"id":1571,"name":"Television Studies","url":"https://www.academia.edu/Documents/in/Television_Studies"},{"id":2858,"name":"Popular Culture","url":"https://www.academia.edu/Documents/in/Popular_Culture"},{"id":3114,"name":"Queer Theory","url":"https://www.academia.edu/Documents/in/Queer_Theory"},{"id":4917,"name":"Gender and Sexuality","url":"https://www.academia.edu/Documents/in/Gender_and_Sexuality"},{"id":7024,"name":"Gender","url":"https://www.academia.edu/Documents/in/Gender"},{"id":10660,"name":"Television And Social Change","url":"https://www.academia.edu/Documents/in/Television_And_Social_Change"},{"id":34074,"name":"Television","url":"https://www.academia.edu/Documents/in/Television"},{"id":980525,"name":"Lesbian Gay Bisexual Transgender Studies","url":"https://www.academia.edu/Documents/in/Lesbian_Gay_Bisexual_Transgender_Studies"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="7220104"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/7220104/Sexing_the_Terrorist_Tracing_the_National_Body_at_Abu_Ghraib"><img alt="Research paper thumbnail of Sexing the Terrorist: Tracing the National Body at Abu Ghraib" class="work-thumbnail" src="https://attachments.academia-assets.com/33842706/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/7220104/Sexing_the_Terrorist_Tracing_the_National_Body_at_Abu_Ghraib">Sexing the Terrorist: Tracing the National Body at Abu Ghraib</a></div><div class="wp-workCard_item"><span>NeoAmericanist</span><span>, Nov 30, 2005</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">For the vast majority, the specter of the racialized and homophobic violence documented at Abu Gh...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">For the vast majority, the specter of the racialized and homophobic violence documented at Abu Ghraib was an inexplicably unsettling sight. In this article Keegan attempts to explain this discomfort by examining what these abuses and the public perception of them implied and revealed about the desire for an impermeable and purified American national body. Keegan reads the creation and implementation of the figure of the terrorist as a signifier for national incoherence and as a tool for the symbolic control and oppression of other socially undesirable groups, particularly queer people. The homosexual humiliation at Abu Ghraib, employing the terrorist body as a floating signifier, is interpreted to signal a new level of innovation in the use of homophobic terror as a technology of nationalistic militarization and expanding empire. Ultimately, Keegan argues that popular interpretations of Abu Ghraib disclose American society’s inability to recognize and defuse its own heterosexist practices.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9c3a2f9236cc9b0f5d932009fc0777ed" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":33842706,"asset_id":7220104,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/33842706/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7220104"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7220104"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7220104; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7220104]").text(description); $(".js-view-count[data-work-id=7220104]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7220104; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7220104']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 7220104, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "9c3a2f9236cc9b0f5d932009fc0777ed" } } $('.js-work-strip[data-work-id=7220104]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7220104,"title":"Sexing the Terrorist: Tracing the National Body at Abu Ghraib","translated_title":"","metadata":{"abstract":"For the vast majority, the specter of the racialized and homophobic violence documented at Abu Ghraib was an inexplicably unsettling sight. 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Ultimately, Keegan argues that popular interpretations of Abu Ghraib disclose American society’s inability to recognize and defuse its own heterosexist practices.","publication_date":{"day":30,"month":11,"year":2005,"errors":{}},"publication_name":"NeoAmericanist"},"translated_abstract":"For the vast majority, the specter of the racialized and homophobic violence documented at Abu Ghraib was an inexplicably unsettling sight. In this article Keegan attempts to explain this discomfort by examining what these abuses and the public perception of them implied and revealed about the desire for an impermeable and purified American national body. Keegan reads the creation and implementation of the figure of the terrorist as a signifier for national incoherence and as a tool for the symbolic control and oppression of other socially undesirable groups, particularly queer people. The homosexual humiliation at Abu Ghraib, employing the terrorist body as a floating signifier, is interpreted to signal a new level of innovation in the use of homophobic terror as a technology of nationalistic militarization and expanding empire. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="2879952" id="bookchapters"><div class="js-work-strip profile--work_container" data-work-id="63552863"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/63552863/Mirror_Scene_Transgender_Aesthetics_in_The_Matrix_and_Boys_Dont_Cry"><img alt="Research paper thumbnail of Mirror Scene: Transgender Aesthetics in The Matrix and Boys Don't Cry" class="work-thumbnail" src="https://attachments.academia-assets.com/75945630/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/63552863/Mirror_Scene_Transgender_Aesthetics_in_The_Matrix_and_Boys_Dont_Cry">Mirror Scene: Transgender Aesthetics in The Matrix and Boys Don't Cry</a></div><div class="wp-workCard_item"><span>The Oxford Handbook of Queer Cinema</span><span>, 2021</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a8945f4278b58679835ed4a8b61d91c7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":75945630,"asset_id":63552863,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/75945630/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="63552863"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="63552863"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 63552863; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="41520073"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/41520073/_Transgender_Studies_or_How_to_Do_Things_With_Trans_"><img alt="Research paper thumbnail of "Transgender Studies, or How to Do Things With Trans*"" class="work-thumbnail" src="https://attachments.academia-assets.com/61684432/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41520073/_Transgender_Studies_or_How_to_Do_Things_With_Trans_">"Transgender Studies, or How to Do Things With Trans*"</a></div><div class="wp-workCard_item"><span>Cambridge Companion to Queer Studies</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">What is transgender studies, and what are its major methods? While the field itself is oriented a...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">What is transgender studies, and what are its major methods? While the field itself is oriented against definitive answers to such questions, transgender studies does indeed possess a history and an emergent set of critical tools, both similar to and yet divergent from the more institutionally embraced field of queer studies. Drawing on Janet Halley’s early mapping of each field’s claims as well as Susan Stryker’s characterization of transgender studies as queer theory’s “evil twin,” this essay explores the critical relation enacted between the two fields, tracing relevant points of congruence and tension between their methods. Both like and yet unlike queer studies, trans* studies points up queer theory’s limitations while inverting many of its major premises. Rather than envisioning the fields as opposites, however, this essay seeks to clarify their relation as a fruitful paradox in which each discourse problematizes and yet enlivens the other’s claims. It then concludes by demonstrating some of trans* studies' core methods through a close reading of John Carpenter’s The Thing (1982).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9023c03ed4f0befb68929a05c4951fa1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61684432,"asset_id":41520073,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61684432/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41520073"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41520073"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41520073; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=41520073]").text(description); $(".js-view-count[data-work-id=41520073]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 41520073; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='41520073']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 41520073, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "9023c03ed4f0befb68929a05c4951fa1" } } $('.js-work-strip[data-work-id=41520073]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":41520073,"title":"\"Transgender Studies, or How to Do Things With Trans*\"","translated_title":"","metadata":{"abstract":"What is transgender studies, and what are its major methods? 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href="https://www.academia.edu/28424070/_Nothing_to_Hide_Selfies_Sex_and_the_Visibility_Dilemma_in_Trans_Male_Online_Cultures_"><img alt="Research paper thumbnail of "Nothing to Hide: Selfies, Sex, and the Visibility Dilemma in Trans Male Online Cultures"" class="work-thumbnail" src="https://attachments.academia-assets.com/55099059/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/28424070/_Nothing_to_Hide_Selfies_Sex_and_the_Visibility_Dilemma_in_Trans_Male_Online_Cultures_">"Nothing to Hide: Selfies, Sex, and the Visibility Dilemma in Trans Male Online Cultures"</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ruc-dk.academia.edu/TobiasRaun">Tobias Raun</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://concordia.academia.edu/C%C3%A1elKeegan">Cáel M Keegan</a></span></div><div class="wp-workCard_item"><span>Sex in the Digital Age, Routledge: London. </span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This chapter takes the juxtaposed images of Dowling/Levine as its point of departure in order to ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This chapter takes the juxtaposed images of Dowling/Levine as its point of departure in order to address the dilemmas that trans men face in seeking to create images of themselves as male and as sexually desirable. While trans men must struggle to pass as “male enough” in order to be considered men by non-trans people, their success in this performance is often criticized for upholding oppressive gender norms attached to ideal masculinity. Acknowledging this paradoxical situation, we suggest that the image of Dowling offers a rare and wide exposure of a trans male body as worthy of sexualized consumption. We argue that in order to understand the gendered and sexual complexities of this image, it is necessary to contextualize it within Dowling’s comprehensive selfie-practice on YouTube and Instagram. Although this image is not a selfie per se, it is almost impossible to separate from Dowling’s exploration of his trans male self as an embodied image, as both a subject and object of representation. Hence, Dowling’s selfies—as well as the image comparison with Levine—can be seen as a persistent attempt to work with and through what Jameson Green labels “the visibility dilemma for transsexual men” (Green, 2006). As trans men (through medical transition) become more recognizable as men, they simultaneously become more invisible as trans. If trans men are open about being or visible as transgender, this potentially puts them in awkward if not harmful situations in which they risk being perceived as not men. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="14486640"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/14486640/Junk_Politics_The_Visual_Economy_of_Trans_Male_Genitalia_Below_the_Belt_"><img alt="Research paper thumbnail of Junk Politics: The Visual Economy of Trans Male Genitalia (Below the Belt)" class="work-thumbnail" src="https://attachments.academia-assets.com/50862752/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/14486640/Junk_Politics_The_Visual_Economy_of_Trans_Male_Genitalia_Below_the_Belt_">Junk Politics: The Visual Economy of Trans Male Genitalia (Below the Belt)</a></div><div class="wp-workCard_item"><span>Transgress Press</span><span>, 2016</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This chapter analyzes the visual economy of trans male representation in Western film and televis...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This chapter analyzes the visual economy of trans male representation in Western film and television as exerting a “junk politics”: a dispossessing politics of erasure that narrativizes trans men’s “junk”— or genitalia— as absent or unreal in mainstream culture. Quantitative studies and critical articles alike consistently note the apparent “invisibility” of trans men, attributing it to the relatively low numbers of trans men, their “passability,” or their access to male privilege. Few researchers have considered the erasure of trans men in Western media as the distorted product of a dispossessing junk politics that narrativizes trans male embodiment as fundamentally deficient.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9dba565a8d13f68e584d6e8490d297e5" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":50862752,"asset_id":14486640,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/50862752/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="14486640"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="14486640"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 14486640; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=14486640]").text(description); $(".js-view-count[data-work-id=14486640]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 14486640; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='14486640']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 14486640, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "9dba565a8d13f68e584d6e8490d297e5" } } $('.js-work-strip[data-work-id=14486640]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":14486640,"title":"Junk Politics: The Visual Economy of Trans Male Genitalia (Below the Belt)","translated_title":"","metadata":{"abstract":"This chapter analyzes the visual economy of trans male representation in Western film and television as exerting a “junk politics”: a dispossessing politics of erasure that narrativizes trans men’s “junk”— or genitalia— as absent or unreal in mainstream culture. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="7220196"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/7220196/California_and_the_Queer_Utopian_Imagination_1980_2014"><img alt="Research paper thumbnail of California and the Queer Utopian Imagination: 1980-2014" class="work-thumbnail" src="https://attachments.academia-assets.com/45020356/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/7220196/California_and_the_Queer_Utopian_Imagination_1980_2014">California and the Queer Utopian Imagination: 1980-2014</a></div><div class="wp-workCard_item"><span>Cambridge University Press</span><span>, May 31, 2015</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Arguably the most infamous queer utterance regarding California is Gertrude Stein’s oft-repeated ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Arguably the most infamous queer utterance regarding California is Gertrude Stein’s oft-repeated phrase, “there is no there there.” Returning to Oakland after decades abroad, Stein found that her pastoral childhood home had disappeared, swallowed by the rapid urbanization of the early 20th century. While specific to her own 19th century expatriate experience, Stein’s memorialization of California as a paradise found and lost still echoes in the writing of queer Americans one century later. This essay connects the literary image of California to the queer history and politics of the late 20th and early 21st centuries, considering the symbolic role California continues to play in the queer longing for spaces of possibility--for homelands lost, found, or yet to arrive--during and after the impact of AIDS. The late 20th century queer literary archive represents California as a utopian space that is desired, anticipated, and grieved by authors who continue to struggle with the bloody and romantic legacies of national expansion. For writers such as Cherrie Moraga, Chrystos, and Jewell Gomez, this utopian urge mourns the predatory decimation of California’s lands and Native cultures; for others such as Tony Kushner, Michelle Tea, and Armistead Maupin, it is a celebration of queer subcultural belonging as a model for the national future. Whether as a conquered territory, a revolution, or a heaven on earth, the queer utopian imaginary represents modern California as a place that is paradoxically here and yet not quite--always approaching on the horizon, always receding under our feet.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2ed40812fc933a0d6b71781dbd159e81" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":45020356,"asset_id":7220196,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/45020356/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7220196"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7220196"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7220196; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7220196]").text(description); $(".js-view-count[data-work-id=7220196]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7220196; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7220196']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 7220196, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2ed40812fc933a0d6b71781dbd159e81" } } $('.js-work-strip[data-work-id=7220196]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7220196,"title":"California and the Queer Utopian Imagination: 1980-2014","translated_title":"","metadata":{"abstract":"Arguably the most infamous queer utterance regarding California is Gertrude Stein’s oft-repeated phrase, “there is no there there.” Returning to Oakland after decades abroad, Stein found that her pastoral childhood home had disappeared, swallowed by the rapid urbanization of the early 20th century. 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This essay connects the literary image of California to the queer history and politics of the late 20th and early 21st centuries, considering the symbolic role California continues to play in the queer longing for spaces of possibility--for homelands lost, found, or yet to arrive--during and after the impact of AIDS. The late 20th century queer literary archive represents California as a utopian space that is desired, anticipated, and grieved by authors who continue to struggle with the bloody and romantic legacies of national expansion. For writers such as Cherrie Moraga, Chrystos, and Jewell Gomez, this utopian urge mourns the predatory decimation of California’s lands and Native cultures; for others such as Tony Kushner, Michelle Tea, and Armistead Maupin, it is a celebration of queer subcultural belonging as a model for the national future. 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href="https://www.academia.edu/38354377/C%C3%A1el_Keegan_Introducing_The_Matrix_TIFF_Bell_Lightbox_20th_Anniversary_Screening"><img alt="Research paper thumbnail of Cáel Keegan Introducing The Matrix: TIFF Bell Lightbox 20th Anniversary Screening" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38354377/C%C3%A1el_Keegan_Introducing_The_Matrix_TIFF_Bell_Lightbox_20th_Anniversary_Screening">Cáel Keegan Introducing The Matrix: TIFF Bell Lightbox 20th Anniversary Screening</a></div><div class="wp-workCard_item"><span>Tiff Bell Light Box Higher Learning Programme: Movies at the Millennium</span><span>, 2019</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38354377"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38354377"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38354377; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38354377]").text(description); $(".js-view-count[data-work-id=38354377]").attr('title', description).tooltip(); }); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="31907170"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/31907170/_Thick_With_the_Future_Bound_and_the_Utopian_Queer_Trans_Horizon_"><img alt="Research paper thumbnail of "Thick With the Future: Bound and the Utopian Queer/Trans Horizon"" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/31907170/_Thick_With_the_Future_Bound_and_the_Utopian_Queer_Trans_Horizon_">"Thick With the Future: Bound and the Utopian Queer/Trans Horizon"</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Presented at the Sonoma State Queer Studies Lecture Series, March 6, 2017.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="31907170"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="31907170"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 31907170; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="18572374"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/18572374/What_Now_Gender_Justice_and_the_LGBTQ_Movement_After_Marriage"><img alt="Research paper thumbnail of What Now? Gender Justice and the LGBTQ Movement After Marriage" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/18572374/What_Now_Gender_Justice_and_the_LGBTQ_Movement_After_Marriage">What Now? Gender Justice and the LGBTQ Movement After Marriage</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Marriage equality has commonly been discussed as the "end point" of the gay civil rights movement...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Marriage equality has commonly been discussed as the "end point" of the gay civil rights movement in the United States. Now that marriage equality has been federally formalized by the Obergefell v. Hodges ruling, we are encouraged to think that LGB people have achieved at least formal equality in our society, and that social equality will follow automatically. Yet U.S. society is more unequal than ever in terms of wealth disparity and incarcerates the highest number of prisoners in the world. Transgender and undocumented people face increasing levels of violence, and our culture is increasingly militarized and policed. Faced with these immense challenges, marriage equality seems like a poor substitute for the wider-ranging movement we might have sustained. Having invested ourselves in the political project of marriage equality, we might be asking, “What now?”<br /><br />This talk investigates where marriage equality as an idea came from, and how it became centralized as a mainstream gay rights goal, supplanting the broader aims of gender justice and freedom of expression. Contrary to popular criticisms, marriage equality is not simply the cause of these changes in the movement, but the effect of conditions that emerged in the 1980s—the AIDS crisis and the rise of neoliberal economics—that have become all but invisible in our current moment. Understanding the effects of this erased history is crucial to a re-framing of the movement around gender self-determination and sexual freedom that we might now seize in the wake of Obergefell.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="18572374"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="18572374"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 18572374; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=18572374]").text(description); $(".js-view-count[data-work-id=18572374]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 18572374; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='18572374']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 18572374, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=18572374]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":18572374,"title":"What Now? Gender Justice and the LGBTQ Movement After Marriage","translated_title":"","metadata":{"abstract":"Marriage equality has commonly been discussed as the \"end point\" of the gay civil rights movement in the United States. Now that marriage equality has been federally formalized by the Obergefell v. Hodges ruling, we are encouraged to think that LGB people have achieved at least formal equality in our society, and that social equality will follow automatically. Yet U.S. society is more unequal than ever in terms of wealth disparity and incarcerates the highest number of prisoners in the world. Transgender and undocumented people face increasing levels of violence, and our culture is increasingly militarized and policed. Faced with these immense challenges, marriage equality seems like a poor substitute for the wider-ranging movement we might have sustained. Having invested ourselves in the political project of marriage equality, we might be asking, “What now?”\n\nThis talk investigates where marriage equality as an idea came from, and how it became centralized as a mainstream gay rights goal, supplanting the broader aims of gender justice and freedom of expression. Contrary to popular criticisms, marriage equality is not simply the cause of these changes in the movement, but the effect of conditions that emerged in the 1980s—the AIDS crisis and the rise of neoliberal economics—that have become all but invisible in our current moment. Understanding the effects of this erased history is crucial to a re-framing of the movement around gender self-determination and sexual freedom that we might now seize in the wake of Obergefell. \n"},"translated_abstract":"Marriage equality has commonly been discussed as the \"end point\" of the gay civil rights movement in the United States. Now that marriage equality has been federally formalized by the Obergefell v. Hodges ruling, we are encouraged to think that LGB people have achieved at least formal equality in our society, and that social equality will follow automatically. Yet U.S. society is more unequal than ever in terms of wealth disparity and incarcerates the highest number of prisoners in the world. Transgender and undocumented people face increasing levels of violence, and our culture is increasingly militarized and policed. Faced with these immense challenges, marriage equality seems like a poor substitute for the wider-ranging movement we might have sustained. Having invested ourselves in the political project of marriage equality, we might be asking, “What now?”\n\nThis talk investigates where marriage equality as an idea came from, and how it became centralized as a mainstream gay rights goal, supplanting the broader aims of gender justice and freedom of expression. Contrary to popular criticisms, marriage equality is not simply the cause of these changes in the movement, but the effect of conditions that emerged in the 1980s—the AIDS crisis and the rise of neoliberal economics—that have become all but invisible in our current moment. Understanding the effects of this erased history is crucial to a re-framing of the movement around gender self-determination and sexual freedom that we might now seize in the wake of Obergefell. \n","internal_url":"https://www.academia.edu/18572374/What_Now_Gender_Justice_and_the_LGBTQ_Movement_After_Marriage","translated_internal_url":"","created_at":"2015-11-18T03:28:44.222-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":7876332,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[],"downloadable_attachments":[],"slug":"What_Now_Gender_Justice_and_the_LGBTQ_Movement_After_Marriage","translated_slug":"","page_count":null,"language":"en","content_type":"Work","owner":{"id":7876332,"first_name":"Cáel","middle_initials":"M","last_name":"Keegan","page_name":"CáelKeegan","domain_name":"concordia","created_at":"2013-12-29T01:00:19.390-08:00","display_name":"Cáel M Keegan","url":"https://concordia.academia.edu/C%C3%A1elKeegan"},"attachments":[],"research_interests":[{"id":129,"name":"American History","url":"https://www.academia.edu/Documents/in/American_History"},{"id":699,"name":"Queer Studies","url":"https://www.academia.edu/Documents/in/Queer_Studies"},{"id":2624,"name":"Transgender Studies","url":"https://www.academia.edu/Documents/in/Transgender_Studies"},{"id":3114,"name":"Queer Theory","url":"https://www.academia.edu/Documents/in/Queer_Theory"},{"id":4814,"name":"HIV/AIDS","url":"https://www.academia.edu/Documents/in/HIV_AIDS"},{"id":11784,"name":"The 1970s and 1980s (U.S. history)","url":"https://www.academia.edu/Documents/in/The_1970s_and_1980s_U.S._history_"},{"id":12093,"name":"Theories of Gender and Transgender","url":"https://www.academia.edu/Documents/in/Theories_of_Gender_and_Transgender"},{"id":12139,"name":"Debate over Same-Sex Marriage","url":"https://www.academia.edu/Documents/in/Debate_over_Same-Sex_Marriage"},{"id":12420,"name":"Neoliberalism","url":"https://www.academia.edu/Documents/in/Neoliberalism"},{"id":24316,"name":"HIV/AIDS policy","url":"https://www.academia.edu/Documents/in/HIV_AIDS_policy"},{"id":26798,"name":"Transgender","url":"https://www.academia.edu/Documents/in/Transgender"},{"id":38751,"name":"History, politics, and culture of HIV/AIDS","url":"https://www.academia.edu/Documents/in/History_politics_and_culture_of_HIV_AIDS"},{"id":39978,"name":"HIV","url":"https://www.academia.edu/Documents/in/HIV"},{"id":359547,"name":"Queer Politics, Lgbtt Activism","url":"https://www.academia.edu/Documents/in/Queer_Politics_Lgbtt_Activism"},{"id":596199,"name":"ACT UP","url":"https://www.academia.edu/Documents/in/ACT_UP"},{"id":980525,"name":"Lesbian Gay Bisexual Transgender Studies","url":"https://www.academia.edu/Documents/in/Lesbian_Gay_Bisexual_Transgender_Studies"}],"urls":[{"id":7022177,"url":"https://www.youtube.com/watch?v=Ql6Tcydh_ow"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="9693980"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/9693980/Toward_a_New_Trans_Aesthetic_The_Wachowskis_The_Matrix_"><img alt="Research paper thumbnail of Toward a New Trans Aesthetic: The Wachowskis' "The Matrix"" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/9693980/Toward_a_New_Trans_Aesthetic_The_Wachowskis_The_Matrix_">Toward a New Trans Aesthetic: The Wachowskis' "The Matrix"</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">When she came out as a transgender woman in 2012, Hollywood film director Lana Wachowski also bec...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">When she came out as a transgender woman in 2012, Hollywood film director Lana Wachowski also became perhaps the most important transgender image-maker in the history of the Western world. Lana, her brother, Andy, and their production team are infamous film innovators whose contributions to film technology helped prompt the revolution in digital imaging. The Wachowskis’ films, including The Matrix Trilogy, V for Vendetta, Speed Racer, and Cloud Atlas, are speculative epics that explore new possibilities of time, space, being, and the body. This talk analyzes how The Matrix Trilogy uses digital modes of representation to imagine emerging forms of gendered consciousness and embodiment, arguing that The Matrix defines a new, distinctly transgender form of aesthetics that altered the production and political implications of 21st century film.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="9693980"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="9693980"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 9693980; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=9693980]").text(description); $(".js-view-count[data-work-id=9693980]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 9693980; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='9693980']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 9693980, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=9693980]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":9693980,"title":"Toward a New Trans Aesthetic: The Wachowskis' \"The Matrix\"","translated_title":"","metadata":{"abstract":"When she came out as a transgender woman in 2012, Hollywood film director Lana Wachowski also became perhaps the most important transgender image-maker in the history of the Western world. Lana, her brother, Andy, and their production team are infamous film innovators whose contributions to film technology helped prompt the revolution in digital imaging. The Wachowskis’ films, including The Matrix Trilogy, V for Vendetta, Speed Racer, and Cloud Atlas, are speculative epics that explore new possibilities of time, space, being, and the body. This talk analyzes how The Matrix Trilogy uses digital modes of representation to imagine emerging forms of gendered consciousness and embodiment, arguing that The Matrix defines a new, distinctly transgender form of aesthetics that altered the production and political implications of 21st century film.\r\n","more_info":"Delivered at Grand Valley State University in honor of Transgender Day of Remembrance.","publication_date":{"day":20,"month":11,"year":2014,"errors":{}}},"translated_abstract":"When she came out as a transgender woman in 2012, Hollywood film director Lana Wachowski also became perhaps the most important transgender image-maker in the history of the Western world. Lana, her brother, Andy, and their production team are infamous film innovators whose contributions to film technology helped prompt the revolution in digital imaging. The Wachowskis’ films, including The Matrix Trilogy, V for Vendetta, Speed Racer, and Cloud Atlas, are speculative epics that explore new possibilities of time, space, being, and the body. This talk analyzes how The Matrix Trilogy uses digital modes of representation to imagine emerging forms of gendered consciousness and embodiment, arguing that The Matrix defines a new, distinctly transgender form of aesthetics that altered the production and political implications of 21st century film.\r\n","internal_url":"https://www.academia.edu/9693980/Toward_a_New_Trans_Aesthetic_The_Wachowskis_The_Matrix_","translated_internal_url":"","created_at":"2014-12-09T09:29:47.102-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":7876332,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[],"downloadable_attachments":[],"slug":"Toward_a_New_Trans_Aesthetic_The_Wachowskis_The_Matrix_","translated_slug":"","page_count":null,"language":"en","content_type":"Work","owner":{"id":7876332,"first_name":"Cáel","middle_initials":"M","last_name":"Keegan","page_name":"CáelKeegan","domain_name":"concordia","created_at":"2013-12-29T01:00:19.390-08:00","display_name":"Cáel M Keegan","url":"https://concordia.academia.edu/C%C3%A1elKeegan"},"attachments":[],"research_interests":[{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies"},{"id":699,"name":"Queer Studies","url":"https://www.academia.edu/Documents/in/Queer_Studies"},{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies"},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies"},{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory"},{"id":2260,"name":"Disability Studies","url":"https://www.academia.edu/Documents/in/Disability_Studies"},{"id":2624,"name":"Transgender Studies","url":"https://www.academia.edu/Documents/in/Transgender_Studies"},{"id":2858,"name":"Popular Culture","url":"https://www.academia.edu/Documents/in/Popular_Culture"},{"id":2869,"name":"Digital Media","url":"https://www.academia.edu/Documents/in/Digital_Media"},{"id":3114,"name":"Queer Theory","url":"https://www.academia.edu/Documents/in/Queer_Theory"},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis"},{"id":4917,"name":"Gender and Sexuality","url":"https://www.academia.edu/Documents/in/Gender_and_Sexuality"},{"id":5247,"name":"Critical Race Theory","url":"https://www.academia.edu/Documents/in/Critical_Race_Theory"},{"id":6667,"name":"LGBT Issues","url":"https://www.academia.edu/Documents/in/LGBT_Issues"},{"id":7024,"name":"Gender","url":"https://www.academia.edu/Documents/in/Gender"},{"id":8694,"name":"Science Fiction","url":"https://www.academia.edu/Documents/in/Science_Fiction"},{"id":10444,"name":"Postmodernism","url":"https://www.academia.edu/Documents/in/Postmodernism"},{"id":10469,"name":"Whiteness Studies","url":"https://www.academia.edu/Documents/in/Whiteness_Studies"},{"id":12093,"name":"Theories of Gender and Transgender","url":"https://www.academia.edu/Documents/in/Theories_of_Gender_and_Transgender"},{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History"},{"id":16069,"name":"Critical Race Theory and Whiteness theory","url":"https://www.academia.edu/Documents/in/Critical_Race_Theory_and_Whiteness_theory"},{"id":20667,"name":"Science Fiction and Fantasy","url":"https://www.academia.edu/Documents/in/Science_Fiction_and_Fantasy"},{"id":513636,"name":"Matrix (film by the Wachowski brothers)","url":"https://www.academia.edu/Documents/in/Matrix_film_by_the_Wachowski_brothers_"}],"urls":[{"id":7022178,"url":"https://www.youtube.com/watch?v=ksPckY2Pnhs"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="2879951" id="electronicpublications"><div class="js-work-strip profile--work_container" data-work-id="39924082"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/39924082/Interview_C%C3%A1el_M_Keegan_Analyzes_the_Revolutionary_Narratives_and_Aesthetics_of_the_Wachowski_Sisters_Cinema_in_French_"><img alt="Research paper thumbnail of Interview: Cáel M. Keegan Analyzes the Revolutionary Narratives and Aesthetics of the Wachowski Sisters' Cinema (in French)" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39924082/Interview_C%C3%A1el_M_Keegan_Analyzes_the_Revolutionary_Narratives_and_Aesthetics_of_the_Wachowski_Sisters_Cinema_in_French_">Interview: Cáel M. Keegan Analyzes the Revolutionary Narratives and Aesthetics of the Wachowski Sisters' Cinema (in French)</a></div><div class="wp-workCard_item"><span>Deuxieme Page</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated"> </span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39924082"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39924082"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39924082; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39924082]").text(description); $(".js-view-count[data-work-id=39924082]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 39924082; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='39924082']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 39924082, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=39924082]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":39924082,"title":"Interview: Cáel M. 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It was the first of its kind to show a romance between two smart women (played expertly by Jennifer Tilly and Gina Gershon) where their queerness was explicitly wrapped up with their butch-femme gender identities. The filmmakers brought on sexpert Susie Bright to help orchestrate the lesbian sex scenes, and a slew of local San Francisco Bay Area lesbian and bi women turned out as background players to help the bonafides. But it still confounded some that Bound, directed by the Wachowski siblings —whom everyone at the time considered two straight cis guys — felt authentically lesbian. Today of course, Lily and Lana Wachowski, who both came out as trans in the 2010s and one who is married to a women, can easily be called the most powerful transgender (and queer?) filmmakers in the U.S. Their oeuvre, which includes a slew of film and TV projects that changed entertainment (including The Matrix, V for Vendetta, and Sense8), is finally getting a second look by Cáel M. Keegan, a professor of women, gender, and sexuality studies and liberal studies at Michigan’s Grand Valley State University. Just days before Lana Wachowski announced their new offices were for sale and hinted at a retirement for the Wachowski siblings, we asked Keegan about his new book, Lana and Lilly Wachowski: Sensing Transgender (Illinois).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9ffce30e08d40ddcf55918a2bcf3aa0e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58234866,"asset_id":38174718,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58234866/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38174718"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38174718"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38174718; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38174718]").text(description); $(".js-view-count[data-work-id=38174718]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38174718; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38174718']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 38174718, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "9ffce30e08d40ddcf55918a2bcf3aa0e" } } $('.js-work-strip[data-work-id=38174718]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38174718,"title":"Interview: \"Understanding the Women Behind The Matrix, Sense8, and Bound\"","translated_title":"","metadata":{"abstract":"When Bound hit movie theaters in 1996, the neo-noir lesbian crime thriller instantly became an underground classic among queer women, especially femmes. It was the first of its kind to show a romance between two smart women (played expertly by Jennifer Tilly and Gina Gershon) where their queerness was explicitly wrapped up with their butch-femme gender identities. The filmmakers brought on sexpert Susie Bright to help orchestrate the lesbian sex scenes, and a slew of local San Francisco Bay Area lesbian and bi women turned out as background players to help the bonafides. But it still confounded some that Bound, directed by the Wachowski siblings —whom everyone at the time considered two straight cis guys — felt authentically lesbian. Today of course, Lily and Lana Wachowski, who both came out as trans in the 2010s and one who is married to a women, can easily be called the most powerful transgender (and queer?) filmmakers in the U.S. Their oeuvre, which includes a slew of film and TV projects that changed entertainment (including The Matrix, V for Vendetta, and Sense8), is finally getting a second look by Cáel M. Keegan, a professor of women, gender, and sexuality studies and liberal studies at Michigan’s Grand Valley State University. Just days before Lana Wachowski announced their new offices were for sale and hinted at a retirement for the Wachowski siblings, we asked Keegan about his new book, Lana and Lilly Wachowski: Sensing Transgender (Illinois).","publication_date":{"day":null,"month":null,"year":2018,"errors":{}},"publication_name":"The Advocate"},"translated_abstract":"When Bound hit movie theaters in 1996, the neo-noir lesbian crime thriller instantly became an underground classic among queer women, especially femmes. It was the first of its kind to show a romance between two smart women (played expertly by Jennifer Tilly and Gina Gershon) where their queerness was explicitly wrapped up with their butch-femme gender identities. The filmmakers brought on sexpert Susie Bright to help orchestrate the lesbian sex scenes, and a slew of local San Francisco Bay Area lesbian and bi women turned out as background players to help the bonafides. But it still confounded some that Bound, directed by the Wachowski siblings —whom everyone at the time considered two straight cis guys — felt authentically lesbian. Today of course, Lily and Lana Wachowski, who both came out as trans in the 2010s and one who is married to a women, can easily be called the most powerful transgender (and queer?) filmmakers in the U.S. Their oeuvre, which includes a slew of film and TV projects that changed entertainment (including The Matrix, V for Vendetta, and Sense8), is finally getting a second look by Cáel M. Keegan, a professor of women, gender, and sexuality studies and liberal studies at Michigan’s Grand Valley State University. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="11958116"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/11958116/Horizontal_Inheritance_Orphan_Blacks_Transgender_Genealogy"><img alt="Research paper thumbnail of Horizontal Inheritance: Orphan Black's Transgender Genealogy" class="work-thumbnail" src="https://attachments.academia-assets.com/37315076/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/11958116/Horizontal_Inheritance_Orphan_Blacks_Transgender_Genealogy">Horizontal Inheritance: Orphan Black's Transgender Genealogy</a></div><div class="wp-workCard_item"><span>InMediaRes</span><span>, Apr 15, 2015</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The introduction of a transgender clone in Orphan Black Season 2 received polarized responses fro...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The introduction of a transgender clone in Orphan Black Season 2 received polarized responses from both audiences and critics: Was Tony Sawicki, a trans male clone introduced in “Variable and Full of Perturbation,” a gimmicky writing stunt or a sincere attempt at representation for an all-but invisible minority group? Reactions to Tony have been dominated by superficial discussions of “diversity” and “authenticity,” but Tony is not the only trans character on Orphan Black: all the show’s clones are “trans” bodies who illustrate the scientific construction of sex and gender, the phenomenon of passing, and the history of eugenics embedded in reproductive medicine.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="21dbbce527a47f88d238f4e7fbbe363b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37315076,"asset_id":11958116,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37315076/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="11958116"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11958116"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11958116; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11958116]").text(description); $(".js-view-count[data-work-id=11958116]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11958116; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11958116']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 11958116, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "21dbbce527a47f88d238f4e7fbbe363b" } } $('.js-work-strip[data-work-id=11958116]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11958116,"title":"Horizontal Inheritance: Orphan Black's Transgender Genealogy","translated_title":"","metadata":{"abstract":"The introduction of a transgender clone in Orphan Black Season 2 received polarized responses from both audiences and critics: Was Tony Sawicki, a trans male clone introduced in “Variable and Full of Perturbation,” a gimmicky writing stunt or a sincere attempt at representation for an all-but invisible minority group? Reactions to Tony have been dominated by superficial discussions of “diversity” and “authenticity,” but Tony is not the only trans character on Orphan Black: all the show’s clones are “trans” bodies who illustrate the scientific construction of sex and gender, the phenomenon of passing, and the history of eugenics embedded in reproductive medicine.\r\n","publication_date":{"day":15,"month":4,"year":2015,"errors":{}},"publication_name":"InMediaRes"},"translated_abstract":"The introduction of a transgender clone in Orphan Black Season 2 received polarized responses from both audiences and critics: Was Tony Sawicki, a trans male clone introduced in “Variable and Full of Perturbation,” a gimmicky writing stunt or a sincere attempt at representation for an all-but invisible minority group? Reactions to Tony have been dominated by superficial discussions of “diversity” and “authenticity,” but Tony is not the only trans character on Orphan Black: all the show’s clones are “trans” bodies who illustrate the scientific construction of sex and gender, the phenomenon of passing, and the history of eugenics embedded in reproductive medicine.\r\n","internal_url":"https://www.academia.edu/11958116/Horizontal_Inheritance_Orphan_Blacks_Transgender_Genealogy","translated_internal_url":"","created_at":"2015-04-15T07:17:19.784-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":7876332,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[],"downloadable_attachments":[{"id":37315076,"title":"","file_type":"docx","scribd_thumbnail_url":"https://attachments.academia-assets.com/37315076/thumbnails/1.jpg","file_name":"Paper_available_here.docx","download_url":"https://www.academia.edu/attachments/37315076/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Horizontal_Inheritance_Orphan_Blacks_Tra.docx","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/37315076/Paper_available_here.docx?1429110458=\u0026response-content-disposition=attachment%3B+filename%3DHorizontal_Inheritance_Orphan_Blacks_Tra.docx\u0026Expires=1733029346\u0026Signature=Grc2xJhkD9c2WaYsn2SgrpbJ-BsnrlO1ZITV~bGuIWTV88nRkW9d4C2jKpYhzPLaCSYAWvUUqiZbJRSX4W8KWLwHYA7wmPEnimEUo9eDsLbDSgkoSWxoxCW8B0oA7ZsIHzCcO0Abs4GXhMrY9aBBf4KnBYego7jvtamhWFLS78x0lo5yjw9NSMusGnaT66qaB5pIhJBjhhciJAfTzzY~oo2qYP8R1fu0knyNEr020JNx6wUU33X0DZtEHfZPdq2MqgVQ3fjJ79jro2Y06fBX1dq8F5uBru4jO37y7nDtFEIGDdxFM6KipROXt6jXp0AUvs9IXAkZ1GWrx5HslxR~qg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Horizontal_Inheritance_Orphan_Blacks_Transgender_Genealogy","translated_slug":"","page_count":1,"language":"en","content_type":"Work","owner":{"id":7876332,"first_name":"Cáel","middle_initials":"M","last_name":"Keegan","page_name":"CáelKeegan","domain_name":"concordia","created_at":"2013-12-29T01:00:19.390-08:00","display_name":"Cáel M Keegan","url":"https://concordia.academia.edu/C%C3%A1elKeegan"},"attachments":[{"id":37315076,"title":"","file_type":"docx","scribd_thumbnail_url":"https://attachments.academia-assets.com/37315076/thumbnails/1.jpg","file_name":"Paper_available_here.docx","download_url":"https://www.academia.edu/attachments/37315076/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Horizontal_Inheritance_Orphan_Blacks_Tra.docx","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/37315076/Paper_available_here.docx?1429110458=\u0026response-content-disposition=attachment%3B+filename%3DHorizontal_Inheritance_Orphan_Blacks_Tra.docx\u0026Expires=1733029346\u0026Signature=Grc2xJhkD9c2WaYsn2SgrpbJ-BsnrlO1ZITV~bGuIWTV88nRkW9d4C2jKpYhzPLaCSYAWvUUqiZbJRSX4W8KWLwHYA7wmPEnimEUo9eDsLbDSgkoSWxoxCW8B0oA7ZsIHzCcO0Abs4GXhMrY9aBBf4KnBYego7jvtamhWFLS78x0lo5yjw9NSMusGnaT66qaB5pIhJBjhhciJAfTzzY~oo2qYP8R1fu0knyNEr020JNx6wUU33X0DZtEHfZPdq2MqgVQ3fjJ79jro2Y06fBX1dq8F5uBru4jO37y7nDtFEIGDdxFM6KipROXt6jXp0AUvs9IXAkZ1GWrx5HslxR~qg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies"},{"id":699,"name":"Queer Studies","url":"https://www.academia.edu/Documents/in/Queer_Studies"},{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies"},{"id":1571,"name":"Television Studies","url":"https://www.academia.edu/Documents/in/Television_Studies"},{"id":2624,"name":"Transgender Studies","url":"https://www.academia.edu/Documents/in/Transgender_Studies"},{"id":2858,"name":"Popular Culture","url":"https://www.academia.edu/Documents/in/Popular_Culture"},{"id":2869,"name":"Digital Media","url":"https://www.academia.edu/Documents/in/Digital_Media"},{"id":3114,"name":"Queer Theory","url":"https://www.academia.edu/Documents/in/Queer_Theory"},{"id":4917,"name":"Gender and Sexuality","url":"https://www.academia.edu/Documents/in/Gender_and_Sexuality"},{"id":7024,"name":"Gender","url":"https://www.academia.edu/Documents/in/Gender"},{"id":8694,"name":"Science Fiction","url":"https://www.academia.edu/Documents/in/Science_Fiction"},{"id":12093,"name":"Theories of Gender and Transgender","url":"https://www.academia.edu/Documents/in/Theories_of_Gender_and_Transgender"},{"id":13792,"name":"Speculative Realism","url":"https://www.academia.edu/Documents/in/Speculative_Realism"},{"id":20667,"name":"Science Fiction and Fantasy","url":"https://www.academia.edu/Documents/in/Science_Fiction_and_Fantasy"},{"id":28025,"name":"Frankenstein","url":"https://www.academia.edu/Documents/in/Frankenstein"},{"id":34074,"name":"Television","url":"https://www.academia.edu/Documents/in/Television"}],"urls":[{"id":4678331,"url":"http://mediacommons.futureofthebook.org/imr/2015/04/15/horizontal-inheritance-orphan-blacks-transgender-genealogy"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="9136087"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/9136087/Op_Ed_How_Transparent_Tried_and_Failed_to_Represent_Trans_Men"><img alt="Research paper thumbnail of Op-Ed: How Transparent Tried and Failed to Represent Trans Men" class="work-thumbnail" src="https://attachments.academia-assets.com/35707815/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/9136087/Op_Ed_How_Transparent_Tried_and_Failed_to_Represent_Trans_Men">Op-Ed: How Transparent Tried and Failed to Represent Trans Men</a></div><div class="wp-workCard_item"><span>The Advocate</span><span>, Oct 22, 2014</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Transparent is both groundbreaking and problematic. But not for the reasons you've heard.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="3e68e3ba639fb3762b1381fd3aee709d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":35707815,"asset_id":9136087,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/35707815/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="9136087"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="9136087"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 9136087; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=9136087]").text(description); $(".js-view-count[data-work-id=9136087]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 9136087; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='9136087']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 9136087, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "3e68e3ba639fb3762b1381fd3aee709d" } } $('.js-work-strip[data-work-id=9136087]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":9136087,"title":"Op-Ed: How Transparent Tried and Failed to Represent Trans Men","translated_title":"","metadata":{"abstract":"Transparent is both groundbreaking and problematic. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="2879942" id="dissertation"><div class="js-work-strip profile--work_container" data-work-id="12093628"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/12093628/Queer_Melodramatics_The_Feeling_Body_and_the_American_Democratic_Imagination"><img alt="Research paper thumbnail of Queer Melodramatics: The Feeling Body and the American Democratic Imagination" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/12093628/Queer_Melodramatics_The_Feeling_Body_and_the_American_Democratic_Imagination">Queer Melodramatics: The Feeling Body and the American Democratic Imagination</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Queer Melodramatics: The Feeling Body and the American Democratic Imagination seeks to locate and...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Queer Melodramatics: The Feeling Body and the American Democratic Imagination seeks to locate and analyze the ways in which the rational, enfranchised democratic citizen-subject is produced through the generation and management of “feeling” bodies, which play a crucial role in the ongoing validation and maintenance of American democratic hegemony. This problematic is investigated through a focus on the visual representation of queerness as an experience of affect. Under American democracy, the queer body has been historically displayed as a body wracked by feeling: this study is an attempt to examine the ways in which this display is intimately involved in the production, and restriction, of American democratic life. Throughout American history, the experience of democracy has been translated into popular and consumable forms through a specifically American melodramatics. Queer Melodramatics thus seeks to provide instructive readings of America's struggle to rectify the problem of queerness through the analysis of melodramatic televisual and filmic texts representing the feeling queer body. Linking the emergence of popular melodrama to the revolutionary democracies of the 18th century, it proposes a reciprocal relationship between the creation of Western, democratic political space and the formation of melodramatic modes of public meaning. Finally, it argues that since the mid-20th century, popular American melodrama has been explicitly directed toward the affective management of the queer body as it “troubles” American democratic life. The goal of the work is to explore how the melodramatic manipulation of the feeling queer body operates as an affective technology of democratic hegemony. My project traces how queerness is not simply antipathetic to the requirements of American citizenship, but operates as a key component in the process by which the prohibitive nature of these requirements is affectively produced, negotiated, defended, and preserved.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="12093628"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="12093628"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 12093628; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=12093628]").text(description); $(".js-view-count[data-work-id=12093628]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 12093628; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='12093628']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 12093628, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=12093628]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":12093628,"title":"Queer Melodramatics: The Feeling Body and the American Democratic Imagination","translated_title":"","metadata":{"abstract":"Queer Melodramatics: The Feeling Body and the American Democratic Imagination seeks to locate and analyze the ways in which the rational, enfranchised democratic citizen-subject is produced through the generation and management of “feeling” bodies, which play a crucial role in the ongoing validation and maintenance of American democratic hegemony. This problematic is investigated through a focus on the visual representation of queerness as an experience of affect. Under American democracy, the queer body has been historically displayed as a body wracked by feeling: this study is an attempt to examine the ways in which this display is intimately involved in the production, and restriction, of American democratic life. Throughout American history, the experience of democracy has been translated into popular and consumable forms through a specifically American melodramatics. Queer Melodramatics thus seeks to provide instructive readings of America's struggle to rectify the problem of queerness through the analysis of melodramatic televisual and filmic texts representing the feeling queer body. Linking the emergence of popular melodrama to the revolutionary democracies of the 18th century, it proposes a reciprocal relationship between the creation of Western, democratic political space and the formation of melodramatic modes of public meaning. Finally, it argues that since the mid-20th century, popular American melodrama has been explicitly directed toward the affective management of the queer body as it “troubles” American democratic life. The goal of the work is to explore how the melodramatic manipulation of the feeling queer body operates as an affective technology of democratic hegemony. 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Stanley, and Johanna Burton</a></div><div class="wp-workCard_item"><span>JCMS: Journal of Cinema and Media Studies</span><span>, 2019</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="105663264"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="105663264"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 105663264; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=105663264]").text(description); $(".js-view-count[data-work-id=105663264]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 105663264; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='105663264']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 105663264, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=105663264]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":105663264,"title":"Trap Door: Trans Cultural Production and the Politics of Visibility ed. by Reina Gossett, Eric A. 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With more than two h...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Why should we still care about Buffy the Vampire Slayer (1997–2003, WB/UPN)? With more than two hundred scholarly articles, a yearly conference and an academic journal devoted to its study, Buffy has been well explored. Yet compared to current broadcast programming, the show continues to stand out as an uncommonly radical mainstream text. Since Buffy’s last airing, realist images of the ‘good gay citizen’ have proliferated across US broadcast television, depicting lesbian and gay characters as assimilated extensions of the bourgeois heteronormative family and its consumer practices. 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While the field itself is oriented a...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">What is transgender studies, and what are its major methods? While the field itself is oriented against definitive answers to such questions, transgender studies does indeed possess a history and an emergent set of critical tools, both similar to and yet divergent from the more institutionally embraced field of queer studies. Drawing on Janet Halley’s early mapping of each field’s claims as well as Susan Stryker’s characterization of transgender studies as queer theory’s “evil twin,” this essay explores the critical relation enacted between the two fields, tracing relevant points of congruence and tension between their methods. Both like and yet unlike queer studies, trans* studies points up queer theory’s limitations while inverting many of its major premises. Rather than envisioning the fields as opposites, however, this essay seeks to clarify their relation as a fruitful paradox in which each discourse problematizes and yet enlivens the other’s claims. It then concludes by demonstrating some of trans* studies&amp;#39; core methods through a close reading of John Carpenter’s The Thing (1982).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="76959859"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="76959859"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 76959859; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=76959859]").text(description); $(".js-view-count[data-work-id=76959859]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 76959859; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='76959859']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 76959859, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=76959859]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":76959859,"title":"Transgender Studies, or How to Do Things with Trans*","translated_title":"","metadata":{"abstract":"What is transgender studies, and what are its major methods? 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The assumption that more and better images of transgender people are key to achieving transgender equality strains under the weight of an emerging contradiction: “good” representation does not necessarily mean reduced social or political antagonism for transgender people. Rather, the emergence of “good” (i.e. marketable) trans media objects illustrates how the most politically challenging aspects of transgender identification are increasingly forced outside the horizon of representability. This essay turns away from “good” transgender representations and toward an archive of recently canceled “bad” transgender media objects, offering new assessments of their unexpected value. Claiming badness as a trans property that must be embraced to achieve sex and gender liberation, i...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="76959858"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="76959858"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 76959858; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=76959858]").text(description); $(".js-view-count[data-work-id=76959858]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 76959858; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='76959858']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 76959858, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=76959858]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":76959858,"title":"On the Necessity of Bad Trans Objects","translated_title":"","metadata":{"abstract":"Despite newly affirming images of transgender people proliferating across US visual media, there has been a concomitant rise in anti-transgender attitudes, transphobic legislation, and trans antagonistic violence. 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Claiming badness as a trans property that must be embraced to achieve sex and gender liberation, i...","internal_url":"https://www.academia.edu/76959858/On_the_Necessity_of_Bad_Trans_Objects","translated_internal_url":"","created_at":"2022-04-19T07:28:46.268-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":7876332,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[],"slug":"On_the_Necessity_of_Bad_Trans_Objects","translated_slug":"","page_count":null,"language":"en","content_type":"Work","owner":{"id":7876332,"first_name":"Cáel","middle_initials":"M","last_name":"Keegan","page_name":"CáelKeegan","domain_name":"concordia","created_at":"2013-12-29T01:00:19.390-08:00","display_name":"Cáel M Keegan","url":"https://concordia.academia.edu/C%C3%A1elKeegan"},"attachments":[],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics"},{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies"},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies"},{"id":2624,"name":"Transgender Studies","url":"https://www.academia.edu/Documents/in/Transgender_Studies"},{"id":12093,"name":"Theories of Gender and Transgender","url":"https://www.academia.edu/Documents/in/Theories_of_Gender_and_Transgender"},{"id":28374,"name":"Visual and Cultural Studies","url":"https://www.academia.edu/Documents/in/Visual_and_Cultural_Studies"},{"id":595690,"name":"Transgender Theory","url":"https://www.academia.edu/Documents/in/Transgender_Theory"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="76959854"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/76959854/Sensing_Transgender"><img alt="Research paper thumbnail of Sensing Transgender" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/76959854/Sensing_Transgender">Sensing Transgender</a></div><div class="wp-workCard_item"><span>Lana and Lilly Wachowski</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">It is the day after the Orlando Pulse massacre, and Lana Wachowski is wearing black. I am as well...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">It is the day after the Orlando Pulse massacre, and Lana Wachowski is wearing black. I am as well, but this is purely coincidence. Rushing with the jittery nerves of a young researcher to the Sense8 shoot in Gary, Indiana, that June morning, I had not given much thought to the news or to the color of my T-shirt. When Wachowski arrives to begin the day’s work, I see immediately that she has: her black shirt is emblazoned with a pink triangle accompanied by what I learn are the words “Who’s next?” in Cyrillic. When I inquire about the language, Karin Winslow Wachowski (Lana’s wife) explains to me that Lana and her sister, Lilly, wore these shirts during their press tour for ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="76959854"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="76959854"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 76959854; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=76959854]").text(description); $(".js-view-count[data-work-id=76959854]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 76959854; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='76959854']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 76959854, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=76959854]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":76959854,"title":"Sensing Transgender","translated_title":"","metadata":{"abstract":"It is the day after the Orlando Pulse massacre, and Lana Wachowski is wearing black. 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When I inquire about the language, Karin Winslow Wachowski (Lana’s wife) explains to me that Lana and her sister, Lilly, wore these shirts during their press tour for ...","internal_url":"https://www.academia.edu/76959854/Sensing_Transgender","translated_internal_url":"","created_at":"2022-04-19T07:28:43.297-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":7876332,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[],"slug":"Sensing_Transgender","translated_slug":"","page_count":null,"language":"en","content_type":"Work","owner":{"id":7876332,"first_name":"Cáel","middle_initials":"M","last_name":"Keegan","page_name":"CáelKeegan","domain_name":"concordia","created_at":"2013-12-29T01:00:19.390-08:00","display_name":"Cáel M Keegan","url":"https://concordia.academia.edu/C%C3%A1elKeegan"},"attachments":[],"research_interests":[],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="76959853"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/76959853/Mirror_Scene_Transgender_Aesthetics_in_The_Matrix_and_Boys_Don_t_Cry"><img alt="Research paper thumbnail of Mirror Scene: Transgender Aesthetics in The Matrix and Boys Don’t Cry" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/76959853/Mirror_Scene_Transgender_Aesthetics_in_The_Matrix_and_Boys_Don_t_Cry">Mirror Scene: Transgender Aesthetics in The Matrix and Boys Don’t Cry</a></div><div class="wp-workCard_item"><span>The Oxford Handbook of Queer Cinema</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">What is trans cinema, and how do we know? Drawing on methods from the emergent field of trans stu...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">What is trans cinema, and how do we know? Drawing on methods from the emergent field of trans studies, this chapter takes up the classic trope of the mirror scene as technique for expanding the archive of purportedly “transgender” cinema. Redeployed as a beside strategy, the mirror scene reveals contemporaneous films Boys Don’t Cry (1999) and The Matrix (1999) as mirror images of one another—a historical meeting place reflecting inverse explorations of transgender representation at the turn of the millennium. Reconsidering Boys Don’t Cry’s legacy in light of The Matrix’s trans authorship and aesthetics, the chapter works dually across these film’s bodies to illustrate how competing trans* imaginaries were developing within the late twentieth-century’s popular cinematic frame.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="76959853"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="76959853"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 76959853; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=76959853]").text(description); $(".js-view-count[data-work-id=76959853]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 76959853; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='76959853']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 76959853, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=76959853]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":76959853,"title":"Mirror Scene: Transgender Aesthetics in The Matrix and Boys Don’t Cry","translated_title":"","metadata":{"abstract":"What is trans cinema, and how do we know? 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Sarah Schulman, The Gentrification of the Mind: Witness to a Lost Imagination.Why does a film like Roland Emmerich&#39;s Stonewall (2015) exist? The event Stonewall purports to represent - the 1969 Stonewall Rebellion that is commonly recognised as launching the US LGBTQ rights movement - has been well-explored to the exclusion of many other important LGBTQ histories. When the trailer for Stonewall was released during summer of 2015, a torrent of rebuke from critics and social media users poured across the internet, lambasting the film for its erroneous &#39;historical&#39; depictions. Stonewall drew fire particularly for how it supplanted the critical role lesbians and queer/trans people of colour played in starting the riot, instead centring on a fictional white, gay male lead. In an interview with Buzzfeed&#39;s Shannon Keating, Emmerich defended his decision to alter LGBTQ history in...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="76959852"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="76959852"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 76959852; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=76959852]").text(description); $(".js-view-count[data-work-id=76959852]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 76959852; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='76959852']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 76959852, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=76959852]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":76959852,"title":"History, Disrupted: The Aesthetic Gentrification of Queer and Trans Cinema","translated_title":"","metadata":{"abstract":"Gentrification is a process that hides the apparatus of domination from the dominant themselves. 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Stonewall drew fire particularly for how it supplanted the critical role lesbians and queer/trans people of colour played in starting the riot, instead centring on a fictional white, gay male lead. 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It sets embodiment in motion. --Susan Stryker, &quot;Transsexuality: The Postmodern Body and/as Technology.&quot; [1] No body seems to fire the postmodern cultural imaginary quite like the transgender body. As Judith Halberstam has noted, &quot;The body in transition indelibly marks late-twentieth- and early-twenty-first-century visual fantasy&quot; (76). Transgender bodies and lives are increasingly available for consumption in Western literature, film, televisual media, and in virtual spaces across the internet. We should be careful, however, in assuming that this proliferation of signs indicates a movement toward transgender equality. While transitional and non-conforming bodies may momentarily deconstruct the fiction of static gendered cat...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="76959850"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="76959850"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 76959850; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=76959850]").text(description); $(".js-view-count[data-work-id=76959850]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 76959850; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='76959850']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 76959850, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=76959850]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":76959850,"title":"Moving Bodies: Sympathetic Migrations in Transgender Narrativity","translated_title":"","metadata":{"abstract":"Affect is not an expression of transsexuality but is, rather, the definitive condition of it. --Lucas Cassidy Crawford, \u0026quot;Transgender Without Organs?\u0026quot; Transsexuality offers a dramatic instance of the temporal instability of the flesh. 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While transitional and non-conforming bodies may momentarily deconstruct the fiction of static gendered cat...","publication_date":{"day":null,"month":null,"year":2013,"errors":{}}},"translated_abstract":"Affect is not an expression of transsexuality but is, rather, the definitive condition of it. --Lucas Cassidy Crawford, \u0026quot;Transgender Without Organs?\u0026quot; Transsexuality offers a dramatic instance of the temporal instability of the flesh. It sets embodiment in motion. --Susan Stryker, \u0026quot;Transsexuality: The Postmodern Body and/as Technology.\u0026quot; [1] No body seems to fire the postmodern cultural imaginary quite like the transgender body. As Judith Halberstam has noted, \u0026quot;The body in transition indelibly marks late-twentieth- and early-twenty-first-century visual fantasy\u0026quot; (76). Transgender bodies and lives are increasingly available for consumption in Western literature, film, televisual media, and in virtual spaces across the internet. We should be careful, however, in assuming that this proliferation of signs indicates a movement toward transgender equality. 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Trans studies is therefore pressed “against” queer theory as a discursive surface in a manner that limits it from being able to exit this disciplinary scenario.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="76959849"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="76959849"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 76959849; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=76959849]").text(description); $(".js-view-count[data-work-id=76959849]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 76959849; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='76959849']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 76959849, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=76959849]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":76959849,"title":"Against Queer Theory","translated_title":"","metadata":{"abstract":"The author explores how current disciplinary conditions force trans studies against queer theory: Because queer theory is the institutional context through which trans studies is invited into the university, it is also the containing ideological architecture against which trans studies must articulate itself. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="76959848"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/76959848/Revisiting_the_Cluster"><img alt="Research paper thumbnail of Revisiting the Cluster" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/76959848/Revisiting_the_Cluster">Revisiting the Cluster</a></div><div class="wp-workCard_item"><span>Sense8</span><span>, 2021</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="76959848"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="76959848"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 76959848; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="76959847"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/76959847/Interview_with_Lana_Wachowski"><img alt="Research paper thumbnail of Interview with Lana Wachowski" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/76959847/Interview_with_Lana_Wachowski">Interview with Lana Wachowski</a></div><div class="wp-workCard_item"><span>Lana and Lilly Wachowski</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In this original, in-person interview with Cáel M. Keegan, Lana Wachowski discusses her filmmakin...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In this original, in-person interview with Cáel M. Keegan, Lana Wachowski discusses her filmmaking career as a transgender and queer writer and director. Topics covered include Sense8’s cancellation by Netflix, Bound’s twentieth anniversary and the legacy of New Queer Cinema, Wachowski’s interest in creating mainstream queer work, the relationship between gender and genre in her cinema, the challenges and joys of making both The Matrix and Cloud Atlas, and the links between transgender imagination, utopianism, and science fiction. 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Over the past two decades, queer studies and women’s studies have rapidly professionalized, producing new modes of disciplinary power that may seek to either include or cite trans* studies, often without fully welcoming its specific material and political investments. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="9507238" id="bookreviews"><div class="js-work-strip profile--work_container" data-work-id="39923711"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/39923711/Review_of_Trap_Door_Trans_Cultural_Production_and_the_Politics_of_Visibility"><img alt="Research paper thumbnail of Review of Trap Door: Trans Cultural Production and the Politics of Visibility" class="work-thumbnail" src="https://attachments.academia-assets.com/60112420/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39923711/Review_of_Trap_Door_Trans_Cultural_Production_and_the_Politics_of_Visibility">Review of Trap Door: Trans Cultural Production and the Politics of Visibility</a></div><div class="wp-workCard_item"><span>Journal of Cinema and Media Studies</span><span>, 2019</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2e4a6682c3e3ff170afa773bea5aca7e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":60112420,"asset_id":39923711,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/60112420/download_file?st=MTczMzA1Mjk2MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39923711"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39923711"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39923711; 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