Queering marriage: an ideographic interrogation of heteronormative subjectivity

Recent debates on same-sex marriage mark the institution, practice, and concept of marriage as a significant site of power and resistance within American culture. Adopting Michel Foucault's conception of "discipline," this essay examines how marriage discourse reinforces heteronormative power relations through its rhetorical constitution of gay male identity. Supplementing "ideographic" critique with Judith Butler's theory of performative speech acts enables us to better interrogate and resist these operations of power. This essay maps the contemporary scene of heteronormative power and resistance through two rhetorical performances of gay male identity. The marriage debates, in the first instance, demonstrate how a conventional desire for masculine agency influences the heteronormative production of gay male identity. In the second instance, gay male SM [sadomasochism] performs a concept of "relational agency," which potentially resists heteronormativity.     

Language, gay pornography, and audience reception

Erotic imagery is an important component of gay pornographic cinema, particularly, where work of audience reception is concerned. However, to assume the audience engagement with the films is limited solely to the erotic realm is to underestimate the workings of ideological power in the context and aftermath of reception. For example, the director of the film under discussion here (Men of Israel; Lucas, 2009b) intended to present an erotic celebration of the nation-state. Yet, most viewers ignore the particulars of context in their comments about audience reception, placing the "Israeli" narrative within a broader framework, using transnational rather than film-specific criteria to guide their "reading" of the Israeli-centered narrative. This article uses as its entry point the language that viewers employ when describing their reactions to Men of Israel on a gay video club's Web site; this article shows how the work of audience reception may draw attention to a film's erotic details while invoking social and political messages that completely reframe the film's erotic narrative.     

Two Japanese variants of the absolute transvestite film

This essay compares two Japanese transvestite films from different generations-Black Lizard of 1968 and Summer Vacation 1999 of 1988. While Western transvestite conventions are usually exploited only to climactically reinforce heterosexual coupling, what binds these two films is their divergent tradition of what I call "permanent transvestism." That is, the films employ a cross-dressing which occurs extra-diegetically, is unnecessary to the plot, and which an audience may or may not be aware of depending on their geo-historical position. However, it is this non-Western tradition of cross-dressing that nevertheless imparts an aestheticization of sexual desire beyond fixed categories of "gay," "lesbian," or even our conventional ideas of transsexualism.     

"Beautiful publicity": an introduction to queer Asian film

With a few seemingly apolitical exceptions, openly queer cinemas have generally charted two opposing courses-a propagandistic search for bourgeois acceptance or a radical challenge to sexual hegemony. Yet even the most politically challenging of queer films, for example those of Pasolini, are nevertheless distributed and disseminated through the heteronormative and hegemonically capitalist means they philosophically oppose. This essay thus takes as its texts two low-budget gay male Japanese films of the 1980s, which have been made available on international home video, as opposing examples of politicoeconomic allegories enacted within the self-reflexive contexts of queer cinema and gay male political history. Taken together, the two films present an interlocking example of how Asian queer films both engage and refute "Eastern" and "Western" conceptions of homosexuality and sexual politics in general.     

Twenty-First Century Lesbian Studies,edited by Noreen Giffney and Katherine O'Donnell

Using a convenience sample of 157 undergraduates, this study explored the likeability ratings of target characters from selected film clips who were described as gay or heterosexual as they associated with a gay-described foil character (i.e., a character against which the target is compared). As predicted, male respondents who strongly endorsed anti-gay prejudice viewed gay-described targets more favorably than heterosexual-described targets when each target was paired with a gay foil. Further, this pattern of biased ratings by high-prejudice male participants against our heterosexual target differentiated these participants from both low-prejudice male and high-prejudice female respondents. In contrast, but as hypothesized, high-prejudice female respondents compared to high-prejudice males rated heterosexual-described targets more favorably than they rated gay-described targets.     

“We’re Not in Oz Anymore”: Shifting Generational Perspectives and Tensions of Gay Community,Identity, and Future

This essay analyzes the writings from a gay male intergenerational project, wherein the process of generating creative prose, poetry, and fiction are used to explore differing understandings of age, aging, and future across gay male cohorts in Chicago. The project suggests one’s age strongly informs one’s perception of power dynamics and one’s perceived access to power. Specifically, youthist logics and lingering cultural myths surrounding the aging gay male shape and constrain intergenerational relations. Furthermore, the study marks and theorizes an emergent generational divide in the conceptualization and articulation of “gay identity” as well as how this identity is understood in relation to “the gay community.” The essay concludes by examining the implications and potential of this research to expand models and logics for meaningful gay male intergenerational exchange, or a queered form of generativity.     

Japanese male gay and bisexual identity

Few studies have ever dealt with Japanese male gay and bisexual identity. This exploratory study investigated gay and bisexual identity through interviews of 34 Japanese gay and bisexual men. Though Japan has unique cultural aspects that are different from Western countries, it can be shown that Western concepts or models of homosexual identity are applicable to a considerable extent to Japanese gay and bisexual men. The results of this study suggest that there are two distinct types of Japanese men sexually interested in men, which the author will call "bisexual" and "gay." These two types are compared in terms of three aspects: self-identity, sexual preference, and social identity and role. A significant number of respondents have careers or vocations in the arts. This study touches on the correlation between art and male-male sexual orientation in Japan.     

Sexual Satisfaction,Solitary, and Dyadic Sexual Desire in Men According to Sexual Orientation

ABSTRACT

Research on male sexual desire and satisfaction according to sexual orientation remains insufficient. An online survey was fulfilled by 415 men (142 gay; 273 heterosexual), and participants completed the SDI-2 and the GMSEX. Main findings suggested that gay men scored significantly higher on both solitary sexual desire and attractive person-related dyadic sexual desire subscales, but not on a partner-related dyadic sexual desire subscale, compared to heterosexual men. Despite sexual orientation, partner-related dyadic sexual desire positively predicts sexual satisfaction, whereas solitary and attractive person-related dyadic sexual desire negatively predicts sexual satisfaction in men. Overall, gay men appear to experience higher levels of both attractive person-related dyadic and solitary sexual desire. Also, experiencing sexual desire toward a partner predicts positively, whereas experiencing desire to engage in sexual behavior with oneself and toward an attractive person predict negatively sexual satisfaction in men.     

Obscenity and homosexual depiction in Japan

This essay serves as an historical introduction to the problem of film censorship in Japan, a country which, despite an often liberal sexual history, continues to impose baffling and even irrational censorship standards on both its domestic and imported cinema. However, whereas sexual censorship in the West is often the result of religious dogmatism, Japanese film censorship may in fact revolve around political struggles whose import is not the censoring of offensiveness per se, but is rather authoritarianism's basic yet desperate desire to assert itself in an increasingly liberal political climate. Furthermore, Japanese censorship has had the unique side effect of creating safe spaces of sexual fantasy (for children, for example) that most countries, in what is in fact a greater form of censorship, refuse to create at all.     

Happy alone? Sad young men in East Asian gay cinema

This essay chooses as its texts three films representing contemporary gay male subjects from each of the "three" China's: HK, Taiwan, and the Mainland. Relocating the homoerotic image of the "sad young man," a trope popular from Hollywood rebellion films of the 1950s and 1960s, to contemporary China, I discuss how this masculine icon has been transformed from one of heroic rebellion to one of existential isolation. Indeed, as the politics of both the outmoded Confucian family and fractured Chinese nationhood intersect, what the sad young (gay) man rebels against is a political fluctuation which is no longer fixed; as the young man's opposition is no longer fixed, so too does he become alienated even from his own rebellious cause.     

A Single Man and a Tragic Woman

Depicting the fraught relationship between a gay man and his straight female best friend, Tom Ford's A Single Man (2009) offers a complex, and often contradictory, depiction of its leading female character, Charley. At once glamorous and troubled, stunning and damaged, Charley reproduces a number of problematic stereotypes regarding women, in general, and fag hags, in particular. At the center of these problems is the film's insinuation that Charley has a melancholic attachment to George, her gay male companion. At first glance, A Single Man reproduces Freudian constructs of melancholy as a pathological response to traumatic loss; this essay argues, however, that the film's many ambivalences also offer opportunities for critical consideration of melancholy as a tactical response to heteronormativity.     

Homosexual men (and lesbian men) in a heterosexual genre: three gangster films from Hong Kong

Of the East Asian film genres that have captured the attention of film goers internationally, it should be of little surprise that martial and heroically masculine genres have been the most popular, for violent action translates well into any language. Although it has been no secret that male martiality often leaks into homoerotic desire (on the part of the audience, too), three Hong Kong films from 1998 have finally explicated the generic homosexuality that the action genre has been (defensively) ashamed to admit all along. However, rather than posit this textual homosexuality as transgressive, the generic forces under which these films operate rewrite their homosexualities, both gay and lesbian, into generic modes fashioned around regressive oppositions of gender, and not progressive liberations of sexuality.     

Queering Bollywood: alternative sexualities in popular Indian cinema

In this essay, I demonstrate through numerous examples taken from four identifiable Hindi film subgenres queer themes which, though nontransgressive in their native Indian context, acquire subversive value and serve as queer points of identification when viewed from a non-nationalist bias. Watching particular films with this "queer diasporic viewing practive," sex/gender play which is normative (yet still coded) in the land of the films' production can be reclaimed as queer through the differently subjective lens of transnational spectatorship, a lens removed from patriarchy, sexism, and homophobia. This particularly becomes apparent in the Bollywood dance sequence-the frequent site of Hindi sex/gender play-whose coded queer desires are much easier to de-code (or re-code) when in the diaspora.     

Beyond “filling in the gap”: the state and status of Latina/o Feminist Media Studies

Against the socio-economic and cultural backdrop of the ongoing Latina/o media “boom,” this critical literature review delineates the location and status of contemporary Latina/o Feminist Media Studies. Departing from a critique of current mainstream Feminist Media Studies research and citational practices, it traces the influence of rapidly expanding transnational Latina/o media markets, the gendering of Latinidad, and transnational feminisms on recent Latina/o Feminist Media Studies scholarship. As it not only breaks with exclusively domestic analyses of intersectionality and accurately reflects twenty-first century media’s transnational orientation, this essay argues that the theoretical paradigms and thematic concerns of Latina/o Feminist Media Studies must ultimately be reframed as central, not marginal, to Feminist Media Studies research.     

Long life of a short film

What follows is an account of my personal experiences as an independent Indian film director who had the fortune to make the country's first openly gay film, the short BOMgAY That said, I would like this essay to be accepted as, rather than a critical appraisal of Indian cinema, a humbly autobiographical account of one individual caught in the hectic throes of political (and cinematic) visibility.     

China doll - the experience of being a gay Chinese Australian

This article is a stylized blend of personal history and polemical essay which investigates the relationship between race and sexuality. What starts out as a history of the narrator's experience of being a "banana"-yellow (Chinese) on the outside and white (Caucasian) on the inside-becomes a complex exploration of the various ways in which male homosexual desire is constructed and how race is both included and excluded from western constructions of homosexuality.     

The specter of the black fag: parody, blackness, and hetero/homosexual B(r)others

This essay investigates the ways in which three African American heterosexual males-Eddie Murphy, Damon Wayans, and David Alan Grier-appropriate signifiers of gayness to parody, stereotype, and repudiate black gay men. These performances are also attempts to circumscribe the boundaries of blackness, ultimately suggesting that "authentic" blackness is lodged within hegemonic black masculinity. Contrary to this desired effect, the essay demonstrates how these performers, in the act of repudiation, ironically and unwittingly queer heteronormative black masculinity, securing further the dialectic between heterosexuality and homosexuality. Finally, the essay argues that these performances manifest the black heterosexual male's melancholia, his refusal to grieve the loss of his sexual B(r)other.     

On the limits of generalizability: applying resource exchange theory to gay relationship processes

In the present studies, we examined patterns of interpersonal resource exchange (E. B. Foa & U. G. Foa, 1980; U. G. Foa & E. B. Foa, 1974) among gay male and female couples. Study 1 was quantitative in nature, whereas Study 2 was qualitative in nature. In Study 1 (n's = 61 male couples and 54 female couples), we explicitly tested the hypotheses that partners in same-sex romantic relationships would exchange affection and respect positively and significantly; results indicated that affection (but not respect) was exchanged or reciprocated positively and significantly among gay male (but not gay female) pairs. In Study 2 (n's = 15 male couples and 15 female couples), we asked the research question, but did not test any formal hypotheses, as to whether same-sex romantic pairs would spontaneously invoke interpersonal resource exchange and other reinforcement processes when describing their relationships; results indicated that gay female (but not gay male) couples appeared to adopt a communal, rather than exchange, orientation toward their relationships with regard to displays of affection. Implications for the study of relationship processes among same-sex romantic pairs are discussed.