Camera Obscura: Feminism, Culture, and Media Studies recent issues

Preface: Bringing Race and Media Technologies into Focus

Joyrich, L. — 2009-05-20

Introduction: Race and/as Technology; or, How to Do Things to Race

Chun, W. H. K. — 2009-05-20

The Face and the Public: Race, Secrecy, and Digital Art Practice

Gonzalez, J. — 2009-05-20

Contemporary digital artists have been exploring the function of the face and its relation to public space for several decades. This essay offers a close reading of artworks by Keith Piper, Nancy Burson, Keith Obadike, and the collective Mongrel that address the relation between race discourse and the visual representation (or elision) of the face. As the most reproduced visual sign on the Internet, the face continues to operate as a threshold to public space. Facebook, the largest social networking site with more than 80 million registered members, has uploaded more than 4 billion images in the past four years alone. The writings of media theorist Mark Hansen offer a provocative starting point to explore how a desire for racial neutrality can lead to the unintentional repression of important forms of cultural difference. Two models of ethics, grounded in the writings of Giorgio Agamben and Emannuel Levinas, respectively, are posed as alternatives in the quest for understanding the importance of "the face." Finally, the essay asks what role secrecy might play in the production and subversion of the public sphere, as well as in the fantasy constructions of race and racial difference.

The Whiteness of Privacy: Race, Media, Law

Osucha, E. — 2009-05-20

This essay explores how the early history of the American right to privacy, first expressed in the law as a right to media privacy, reflects the racialization of concepts of privacy and publicity in nineteenth-century visual culture. Where standard scholarly treatments focus on the gendering of these concepts, Osucha argues that they can also be explained by nineteenth-century anxieties about stabilizing the boundaries of racial whiteness. Analyzing the historical legal discourse via the seminal 1890 Harvard Law Review article "The Right to Privacy," as well as via early case law directly inspired by that article, Osucha links the doctrine's fundamental concern with privacy-as-property to new understandings of subjectivity, commodification, and the image produced at the nexus of an emergent commercial mass media and technological and social transformations of photography in the same era. The reconfiguration of privacy is also linked to how race, gender, and class are articulated visually in nineteenth-century media culture. Thus drawing on histories of photography and consumerism, legal history, and cultural theory, as well as on the visual archive of the original Aunt Jemima trademark, the present essay argues that anxieties about the media exposure and commodification of white women that saturated the legal texts of media privacy were correlative to the spectacular forms of exposure and commodification of black subjects routine in the era's commercial print culture. This conjunction of legal and media discourse calls for a rehistoricization of the function of media publicity as a technology of racialization

Interfaces of Identity: Oriental Traitors and Telematic Profiling in 24

Nakamura, L. — 2009-05-20

Images of biometric screens are becoming increasingly common in television and film, particularly in genres such as police procedurals, "terror" television programs, and medical dramas. Digital surveillant screens establish and produce authority and scientific truths about national and racial identity in the television program 24. Facial recognition systems (FRSs), in particular, participate in earlier visual discourses of privileged facial imaging such as the close-up and the mug shot, and link them with forms of machine envisioning such as automated rapid facial comparison and database matching. These techniques of facial recognition evident in film and television programs relating to the recognition of the pathologized body, the terrorist body, and the racialized body bring together modes of seeing that transfer the work of profiling racialization onto seemingly neutral new media technologies. Technophilic television programs like 24, which create pleasure out of paranoia and dramas out of identification, employ digital special effects sequences like FRSs to demonstrate the power of both cinema and science to reveal hidden identities. These identities are often racialized as Asian or Asian American. 24 conflates East Asians, Asian Americans, and West Asian ethnic groups together by representing all three as users as well as subjects of digital imaging technologies.

Faceblindness, Visual Pleasure, and Racial Recognition: Ethnicity and Technicity in Ted Chiang's "Liking What You See: A Documentary"

Foster, T. — 2009-05-20

This essay analyzes a postcyberpunk science fiction story by Ted Chiang, an Asian American writer. The story speculates on the technological manipulation of visual perception through the direct modification of visual processing structures in the human brain. It focuses on the political implications of such technologies and their different effects on gender or sexuality and race. I situate the story's speculations in relation to contemporary developments in cognitive science, especially in evolutionary psychology, as those scientific disciplines redefine the basis for distinctions between nature and culture. Chiang's story is grounded in these scientific disciplines, specifically in work on the condition of prosopagnosia, or the inability to identify people through facial features, usually as a result of brain damage. The story imagines a technology that deliberately induces another kind of damage, or agnosia: the ability to evaluate facial beauty. "Liking What You See" reflects on the ways in which such a technology might either disrupt or reproduce gender and racial ideologies by altering people's ability to recognize and experience a particular form of visual pleasure. The story explicitly situates this technology of cognitive modification in relation to new media technologies. The attitude toward embodiment implicit both in the story and in the cultural and scientific contexts within which it emerges opens out onto

a larger set of theoretical issues, which I characterize as the relationship between ethnicity and technicity.

Race as Technology

Coleman, B. — 2009-05-20

Is it possible to think of race as a disinterested object of our delight, as opposed to one that is overinscribed? Can race survive as something other than the remnant of a traumatic history? In this essay, I ask the reader to consider race as technology. This proposition moves race away from the biological and genetic systems that have historically dominated its definition toward questions of technological agency. In this formulation, race exists as if it were on par with a hammer or a mechanical instrument: denatured from its historical roots, race can then be freely engaged as a productive tool.

Call for Submissions: Feminism/Culture/Media In Practice

2009-05-20

Between a Postcolonial Nation and Fantasies of the Feminine: The Contested Visions of Palestinian Cinema

Ball, A. — 2009-05-18

One of the many astonishing traits of Palestinian cinema is the way in which it has embraced the complex relationship between gender and nation as a central concern in its filmmaking. This article explores the ways in which gendered and national identity are negotiated and refigured in two seminal contributions to Palestinian cinema, Michel Khleifi's Wedding in Galilee and Elia Suleiman's Divine Intervention. Paying close attention to the contested structures of nation, postcoloniality, gender, and identification within the films, the article examines the extent to which Khleifi and Suleiman manage to reconcile postcolonial and feminist commitments in visual terms. In particular, the article examines the directors' visual construction of space, division, and connection, which it argues can be interpreted as a codification of the paradigms of gender, desire, and fantasy present within the films.

Placing these analyses within a critical framework drawn from postcolonial, feminist, and spatial theory, the article explores the possibility that the concerns of contemporary Palestinian cinema, while varied, might offer an exciting forum through which postcolonial gender theorists are able to explore and realign the long-contested relationships between nationalism and feminism and between individual and communal agency. Despite this possibility, the article finally posits that while Khleifi's and Suleiman's films both construct transgressive models of femininity, the possibility of aligning their work with the vision of a postcolonial feminist project remains, to an extent, contested.

Skin Deep: Josephine Baker and the Colonial Fetish

Cheng, A. A. — 2009-05-18

This article tells the stories of architect Adolf Loos and cabaret/film icon Josephine Baker in order to trace the philosophic intimacy between modernist preoccupation with the nude surface and the staging of exposed, racialized skin in the early twentieth century. The racial or colonial fetish that haunts the making of modern architectural theory and the celebrity of Baker become the site of critical possibility through which we can track the conjoined stories of "modern nudity" (as stylized purity) and "primitive nakedness" (as material embodiment.) Tracking the charged concepts of "cover" and "lack" that traverse and structure diverse fields of inquiry from psychoanalysis to architectural theory to dance history to film criticism, this paper argues that there is a profound nostalgia, rather than refutation, between the clean nudity of modern objects and the ornate nakedness of so-called primitive subjects.

The Ins and Outs of Female Sensibility: A 1973 Video by Lynda Benglis

Richmond, S. — 2009-05-18

A video produced by Lynda Benglis in 1973, Female Sensibility features the artist in a lesbian liaison with her friend and colleague, Marilyn Lenkowsky. This essay suggests that aspects of the video's content indicate that the artist intended this liaison to be an ironic enactment of the title term, "female sensibility," and its twin concept, "female imagery." Through its irony, Benglis' work in turn poses larger questions about the production and consumption of female sexual imagery by women artists: how does an artist project herself into her work? How does she define her practice in relation to feminist politics, on one hand, and popular culture, on the other? When does self-representation overstep the boundary between sexual valorization and prurient commodification? How, in turn, should a female viewer respond to erotic visual material produced by a woman? In order to understand the historical and contextual significance of these questions, I situate Benglis' video at the intersection of three visual histories in the US: that of early video art, seventies feminist art, and mass culture pornography. Although Benglis is primarily a sculptor, she turned increasingly to video in the early 1970s. While the medium initially served as a formal extension of her abstract, three-dimensional work, it ultimately allowed the artist to explore self-representation, to engage with feminist sexual politics, and to respond to mass cultural imagery more directly. As such, I conclude that Female Sensibility is revealing of a broader set of contradictions operating in art and visual culture at the time around the production and reception of female sexual (self-)representation.

"Jackie Treehorn Treats Objects Like Women!": Two Types of Fetishism in The Big Lebowski

Wall, B. — 2009-05-18

In this essay I explore the stupidity and sexism of the Coen Brothers' The Big Lebowski (1998) to read it as suggesting—by way of its emphasis on fetishism, castration, and commodification—a recontextualization of gender roles and a critical portrayal of the dedifferentiation of sexual and commodity fetishism as in the service of capital. First, the narrative frustrates all manners of substitution and exchange, so vital for both forms of fetishism. Second, the paternal function is continually evoked—typically in the form of the titular "Big Lebowski"—to be first submitted to critique but then rewritten, as Jeff Bridge's "Dude" comes to abjure both the imaginary and the symbolic dimensions of paternity in favor of more material and yet less oppressive and monolithic construals of paternity and masculinity. Third, I examine the consequences of the Dude's refusal of phallic mastery for the viewer and theorist.

Mourning and Music in Blue Velvet

Copenhafer, D. — 2009-05-18

In David Lynch's Blue Velvet, music is a key component of the film's intricate staging of gender and sexuality. "Mourning and Music" interprets four scenes in which characters either sing songs or imitate singing. It argues that the unsettling appearance of gender and sexuality within musical performance functions as a likely origin for the murderous rage of the film's antagonist, Frank Booth (Dennis Hopper). Frank tries, via mimicry, to displace intimations of homosexuality that arise within musical performance. But the film suggests that mimicry is likely to fail as a strategy for the containment of desire, since desire itself is already constituted through imitation. In other words, one cannot fail to become—if only in a partial, incomplete way—what one imitates. Frank's "becoming gay" would appear to drive his violent acting out against men, women, and music. It represents a failed work of mourning for a lost lover of the same sex or perhaps for same-sex desire itself—a destructive relationship to a form of desire he can scarcely acknowledge.

Gentlemen Prefer Hercules: Desire | Identification | Beefcake

Rushing, R. A. — 2009-05-18

The Italian peplum film (sometimes called the sword-and-sandals film) enjoyed a brief but intense vogue from about 1957 to 1965. Over three hundred of these films were made following the same basic model: a bodybuilding celebrity (Steve Reeves, Reg Park) was cast as a heroic muscleman (Hercules, Samson) in a mythical universe of dragons, witches, and evil emperors. This article targets a specific question about these mid-century Italian peplum films: how do they handle the "problem" of their obvious nonheteronormative attractions, well-oiled and nearly naked bodybuilders, whose bodies are constantly on display and evidently eroticized. The beefcake on display in the peplum is clearly not meant for a straight female audience (the films are rarely more than a series of demonstrations of violent physical strength, often haphazardly strung together), and the films were too widely popular to have appealed exclusively to a gay audience. Despite their evident camp value today, peplum films appear to have been principally aimed at, and consumed by, straight adolescent males. The peplum largely adopts three strategies, not always consistent among themselves, to address its problematic questions of desire and identification: (1) it displaces same-sex desire into the past (I used to desire Hercules, but now I identify with him); (2) identification is displaced from its proper target (the skinny and helpless adolescent sidekick) to a much more flattering one (Hercules); (3) the peplum universe repeatedly disavows sexual difference.

Call for Submissions: Feminism/Culture/Media In Practice

2009-05-18

World without Strangers: The Poetics of Coincidence in Pedro Almodovar's Talk to Her

Kakoudaki, D. — 2008-09-09

While there has been more critical attention on Pedro Almodóvar's films in recent years, his narrative craft has not been extensively studied, even as he is frequently described as one of the most creative and unconventional storytellers of the contemporary screen. This article explores Almodóvar's narrative style through a close analysis of the deployment of coincidence as a device in Talk to Her, a film structured by coincidental meetings and events. Tracing Almodóvar's treatment of coincidence allows us to evaluate and appreciate the classical echoes of his narrative tendencies and in the process delve into the humanist epistemological and philosophical implications of his representational choices. Coincidental plots in this film create dense social networks among relative strangers, networks that operate to enfold or absorb strangers and thus effectively eradicate the notion of the stranger. Coincidence in this case would seem to satisfy a contemporary desire for recognition and connection among strangers, which the film would then exploit for its melodramatic potential. Yet far from facilitating a purely utopian meditation on countering the alienating structures of contemporary life, the deployment of coincidence in Talk to Her also presents the negative potential of such enfolding. In contrast to the overt imperative to "talk" in its title, the film in effect uses the narrative logic of melodrama to traffic in secrets and to develop eloquent modes of silence.

Histories of The Watermelon Woman: Reflexivity between Race and Gender

Zimmer, C. — 2008-09-09

This essay explores Cheryl Dunye's The Watermelon Woman (1997) in the context of reflexive practice in film. The film has been variously approached as queer cinema, women's autobiographical and documentary cinema, and black cinema; this essay emphasizes how one might add to all of these discussions and explore their interrelations, by looking at the film through a history and analysis of cinematic reflexivity. As a metacinematic work both by and about an African American lesbian director, the film has much to say about the means of its own production and, even further, about the way that cinema "at the margins" has been framed within film studies. First examining the manner in which reflexive work, particularly work that seems to address the loss of authorial control by a film director, has in fact functioned to reinstall the primacy of a dominant subjectivity, the essay then turns to The Watermelon Woman to suggest how reflexivity might be used otherwise. A discussion of the film's reflexive movements illuminates the ways that certain feminist filmmaking practices, though highly influential, are excluded from theoretical discussions on modes of cinematic discourse and maintained instead in a circumscribed arena in which women's film is allowed to speak about women but not about film. More specifically, The Watermelon Woman both presents and represents the negotiations, mediations, and tensions triangulated among dominant film history, white feminist film studies and production, and black film history and production n the United States.

Learning to Love What Passes: Sensual Perception, Temporal Transformation, and Epistemic Production in Hirokazu Kore-eda's After Life

McKim, K. — 2008-09-09

Hirokazu Kore-eda's 1998 film After Life stylistically cites canonical Japanese films (especially that of Yasujiro Ozu), while heralding the cinema's role in both photogenically defamiliarizing the familiar and naturalizing the new. Set in a way station between heaven and earth and alternating between documentary-like scenarios and quiet, evocative cinematic pauses on the natural world, After Life contrasts a bucolic landscape with the spectacle of film production. Moreover, After Life privileges the transformative potential of a benevolent gaze (subjectively held by its female protagonist) that productively learns from and contributes to a sensual, humanistic, and epistemic perception. Combining analyses of Ozu's films (by Noël Burch, Gilles Deleuze, David Desser, and Donald Richie) with film theories (by Roland Barthes, Walter Benjamin, Mary Ann Doane, and Jean Epstein), I trace the temporal underpinnings of After Life's evocation of photogénie, seasonal passing, memory, identification, and gendered experience to show the sensual gravity of benevolent attention. I argue that After Life illustrates the way in which film can enable our taking the time to learn a sensual and sensitive way of being in the world. Through the point of view of the female protagonist, this film moves from a contemplative to a loving and epistemically productive gaze; in so doing, this story about learning to love what passes writes the history of women's cinematic subjectivity as the worldly exercise of photogenic love.

Male Weeping as Performative: The Crying Mossad Assassin in Walk on Water

Hagin, B. — 2008-09-09

The article examines the trope of the crying male in contemporary Israeli fiction films as it appears near the end of the 2004 feature film Walk on Water, written by Gal Uchovsky and directed by Eytan Fox. It suggests, employing various accounts of crying, melodrama, and performative speech, that the surge of weeping men in recent Israeli films–men who discuss their inability to cry or to stop crying, who parade their tears–might be read as an attempt by Israeli mainstream entertainment to deal with Israeli society's infatuation with victimhood and its tendency to conflate identity with suffering. Walk on Water's protagonist, a Mossad assassin, attempts to bask in the suffering of at least three groups as the film unfolds: Israelis as victims of Palestinian terror, Jews as victims of the Nazis, and queers as victims of homophobia. None of these moments, however, make him cry. Rather, the crying is incongruous with his search for suffering within a group, and he only cries at the end of the film after the search has failed. Many critics deemed the film, particularly its ending, sentimental, arbitrary, clichéd, irrational, and perhaps immoral. This article argues that Walk on Water could alternatively be understood as an effort to reject the Israeli passion for victimhood, instead calling for new means of constructing identities.

Tactics of Tears: Excess/Erasure in the Gay Chinese Melodramas of Fleeing by Night and Lan Yu

Chan, K. — 2008-09-09

By first looking at the gay consumption of melodrama, this essay presents the notion of tears as a political trope to negotiate the reclamation of crying from being a signifier of gendered/sexual "weakness" to one of tactical empowerment, a tactics of tears. Gay political readings of melodrama, in identification with feminist reclamations of the genre, mobilize the subversive potentialities of tears, and hence of melodrama itself, to transcend the conservative limits of the gender relational and heteronormative familial values of the genre's traditional form. This theoretical turn enables this essay to then focus specifically on gay Chinese melodramatic cinema. The conventions of Chinese melodramatic mise-en-scène offer moments of excess or hyperbole that the gay romance melodramas rely on to confront the question of gay sexuality in Chinese society. Li-Kong Hsu and Chi Yin's Fleeing by Night and Stanley Kwan's Lan Yu engage gay sexuality through their interactions with Chinese melodramatic conventions, be it moving with or running against the grain of the genre. While Fleeing by Night abides more strictly by these conventions to produce a "hysterical" text of excess, Lan Yu resorts to the strategy of narrative truncation and erasure to deflect the focus from melodramatic spectacle onto that of the quotidian framing of gay sexuality and its normalcy. Ideology and melodrama are implicated in the way the traditions of form constrain and mold subject matter to produce and sustain hegemonic ideas and beliefs. But when faced with alternative values, practices, and worldviews, in this case gay sexuality, the melodramatic text turns "hysterical" in coping with the ideological excess. This essay's analysis of two instances of gay Chinese melodrama not only demonstrates the limits of melodrama as a form that gay filmmakers can work with but also suggests the genre's subversive potential.

Introduction: The Good, the Bad, and the Fabulous; or, The Diva Issue Strikes Back

Doty, A. — 2008-05-15

Lena Horne's Impersona

Vogel, S. — 2008-05-15

This essay examines Lena Horne's reputation in the first half of her career as a reserved, refined, and affectively distant diva. Approaching her performance of aloofness—communicated and enacted both on film and in live cabaret shows—as an acute response to the interracial intimacy produced by performances across the color line, I argue that Horne's withholding exploited the conventions of the cabaret to resist the circumscribed roles available to black women performers on the Jim Crow stage. In autobiographical accounts of her early nightclub performances, she embraces what I term an "unperforming of the self" through the cultivation of an impersonal intimacy that deferred a fixed subjectivity and frustrated the racial expectations of her audiences. She developed this impersona through three interlocking tactics: a disarticulation of self and song; a reversal of the psychic positions of audience and performer; and, following Bertolt Brecht, what we can think of as "third-person singing." Horne's aloofness illuminates a historically vexed connection between public intimacy and hostility to suggest that as much as intimacy could be a resource for individual and collective transformation, it was also often the precondition for varieties of hostility, alienation, violation, and surveillance. I conclude with Horne's self-revision of these aloof performances as she articulated a new relationship with her audiences during the civil rights movement and after.

Cinderella Man: Russell Crowe as Il Diva

DeAngelis, M. — 2008-05-15

With Russell Crowe character attributes that might code the star as a narcissistic diva are recontextualized, constructing an authentic figure whose occasional acting out enhances his masculinity rather than feminizing him. This article contrasts the notion of the performer as an authentic "work in progress" with the superficial "finished product" that is the diva. Through a process of the melodramatic emergence of character, Crowe becomes a star who is always "finding himself," avoiding the narcissism of a to-be-revered divalike object of worship. His emergence is traceable to the recurrent loner figure of his pre-Hollywood film roles, where he is presented as vulnerable and accessible to audience identification because he is incomplete and always developing. Crowe's work in L.A. Confidential sustains his star emergence by negotiating violent temperament and vulnerable authenticity within the narrative itself. With the extracinematic publicity and critical texts appearing after this film, the actor's by then well-publicized aggressive tendencies are reworked as signs of the a actor's authenticity as he follows a path of supposed self-discovery. Crowe's recent film roles have ameliorated the excessive display of his solipsistic offscreen persona. Converting excess into a form of labor that authenticates and remasculinizes the star, these roles recast the negative divaseque attributes of the actor's offscreen star persona by constructing the actor as a passionate leader whose social responsibilities obligate him to behave as he does. As a result, Crowe's pathological acting out now signals a greater authenticity, as well as his dedication to improving the quality of his work and his life.

Devouring the Diva: Martyrdom as Feminist Backlash in The Rose

Bradshaw, M. — 2008-05-15

"Devouring the Diva" explores the drives that push us to pursue, consume, and destroy the diva, arguing for a reading of the diva as a figure of feminine gendering and as a stand-in for the fetishized mother whom we ambivalently adore, mourn, and hate. Through an analysis of the 1979 film The Rose (dir. Mark Rydell, US), and in particular, through its spectacular reimagining of Janis Joplin's death, Bradshaw explores our cultural attachment to narratives of the diva's abjection and shame. By framing Joplin, that quintessential symbol of both 1960s rock-and-roll culture and 1960s feminist rebelliousness, through the diva narrative, with its formulaic destruction of the ambitious woman, The Rose gets to reimagine her as appropriately castrated and feminine, and as appropriately punished for her strength, her ambition, and her gender. But the film takes this aggression to another level, punishing not just one woman but, through her, all women for the excesses of a decade in which women demanded political, sexual, and artistic autonomy as their just due.

The Interpellations of Interpolation; or, The Disintegrating Female Musical Body

Rogers, B. — 2008-05-15

This essay interrogates the popular ideology of integration in American musical theater, arguing that the "integration" of Oklahoma! was less the integration of music and narrative and more a related (and almost equally uneasy) attempt to minimize the eruptive force of female musical bodies. This integration seems to be invested with limiting the potential positions from which spectators can approach the musical performance—most crucially, in preventing identification with singers' bodies. In this way, the integration of Oklahoma! participates in the tradition of the Wagnerian Gesamtkunstwerk, a poetic concept that also "integrates" music through the taming of female musical bodies. Though Bertolt Brecht's sophisticated critique of the Wagnerian Gesamtkunstwerk adumbrates a useful direction for understanding the generic disintegration of the musical, Brecht, too, ultimately resists the feminine associations of the disintegrating power of music. However, despite the integrating impulses of journalistic criticism and aesthetic theory—which continue even today—the ideology of integration lost some of its allure during the 1970s, when a number of older stars began to star in revivals. These shows foreground the aesthetic features—musical bodies—central to every musical, and in doing so they demand that we resist the misleading and indeed stiflingly unmusical mantra of integration.

Two or Three Spectacular Mulatas and the Queer Pleasures of Overidentification

Perez, H. — 2008-05-15

Building on feminist and queer scholarship on the relationship of film spectatorship to subjectivity, this essay conjectures subaltern spectatorships of the two US film adaptations of Fannie Hurst's 1933 novel Imitation of Life as a means of tracing the impossibly entangled discourses of race and sexuality, as well as of formulating "queer of color" as a kind of critical modality. Much like Harriet Beecher Stowe's Uncle Tom's Cabin functions, according to Sigmund Freud, as a cultural artifact prized in the form of an idealized beating fantasy by the Victorian (white) child, Imitation of Life stages for black and queer of color spectators originary traumas, in particular the formative (and compounded) experiences of racial and sexual shame. This essay seeks to reconcile the dissonant emotions evoked by Imitation of Life by reading the overidentifications of subaltern spectators with the figure of the tragic mulatto as instances of queer pleasure, both self-shattering and subject forming. In so doing, the essay pays tribute to that tragic mulatto as a spectacular mulata and diva. The spectacular mulata diva summons queer subjectivities; furthermore, she betrays larger national and colonial secrets, locating the racially hybrid genealogies of the classic diva and the universalized subject of psychoanalysis, heretofore presumably white (European).

APPRECIATIONS

2008-05-15

Vincent Price and Me: Imagining the Queer Male Diva

Benshoff, H. M. — 2008-05-15

Vaginal Davis's Gospel Truths

Siegel, M. — 2008-05-15

Love Letter to Jane

Wlodarz, J. — 2008-05-15

The Dandy Diva

Fontenot, A. — 2008-05-15

Love and Fit

Henderson, L. — 2008-05-15

"More Than One Way to Love": On Kiki and Herb (but Mostly Kiki)

Hilderbrand, L. — 2008-05-15

"The Stallion Who Became a Gelding Who Became a Mayor": Georgie Girl

Limbrick, P. — 2008-05-15

Ruby Red and Emerald Green: The Queer Demon Diva of My Dreams

Palmer, L. — 2008-05-15