Annotated Bibliography

David Román creates excellent perspective into the haven and necessity of theatrical arts for homosexual Latino 's in Chapter 6 of Intervention entitled "Teatro Viva!" Román reveals that progressing as a community requires gay Latino men and women to use the theatre as a tool to break the socio-silence surrounding the idea of homosexuality and the AIDS virus. In this case, the region of Los Angeles, California is accounted for as having an enormous amount of input having to do with the de-marginalization of homosexual Hispanics in the world. "Teatro VIVA!" is the name of a Los Angeles county short-skit theatrical outreach program that provided a bilingual education of the gay Latino community confronted with AIDS during the early nineties. This chapter helps by providing the reader with a detailed record of many such performance acts in the Los Angeles around that time.

Even time, one of the most seemingly constant things in life is relative. Within this relative space is queer time. The queer movement has had its own timeline and relationship with time both within and outside of the dominant timeline. Unlike in the dominant culture in which one’s past remains in the past and the future is always progress, queer time constantly looks simultaneously forward and backward, appreciating the importance of the past for the creation of the future. This more fluid definition of time is demonstrated through editing and framing in “Hollywood Je T’aime” and the historical basis of “A Slacker and Delinquent in Basketball Shoes” as is the idea that people are not forgotten, simply because they are in the past.

In my dissertation I will show the representation of transsexual FtM (female to male) characters and the response of the audiences who identify as non-cisgender. I will show that representation in media is important, therefore I will underline the obstacles that appear in queer cinema. Moreover, I will explore the idea of the character’s identity and relatability to the film viewers. I will focus on the issues that are present in films that could be labelled as “trans’ or “queer”. By explaining these terms, I will link the issues that queer cinema has to deal with, underlining the importance of choosing queer cast for queer films.

"New Queer Cinema" was a term conceived by B. Ruby Rich in numerous publications, notably Sight & Sound, a British film journal that Jose Arroyo regularly reviews on. The term was to describe the appearance of specific films during the early 1990’s at Sundance Film Festivals that indicated a politicized viewpoint towards queer. In a 2013 interview conducted by 15min with Arroyo, he states that gays in film have been there since the beginning of film. For example, films of nudes by Eadweard Muybridge during the 1890’s.

Camp is an aesthetic style that has long fascinated artists, writers, and cultural critics. In her essay "Notes on Camp," Susan Sontag argues that Camp is an apolitical sensibility, one that is defined by a love of the artificial, the exaggerated, and the outrageous. However, camp has become political over time due to it allowing the LGBTQ+ community to become mainstream, to break the boundaries of what is considered “normal” and “acceptable”, and to unfortunately marginalize groups of people. Canadian Filmmaker Bruce LaBruce argues that despite the fact that camp was originally intended for all audiences, it has transformed over time into a tool that was used for the LGBTQ community. In paragraph nine of Notes on Camp/Anticamp, LaBruce

In fact, some filmmakers refuse to screen their work at Queer festivals altogether as if doing so would suggest that their work is only relevant to Queer audiences. This phenomenon is discussed in the Canadian Journal of Film Studies as the Queer “ghetto” (Andersen 42). From a business perspective, some filmmakers are concerned that by partnering with festivals like Inside Out, they become confined to what is widely perceived as a niche market, “thus cutting short the potential market” (Andersen 42). On this topic, Elie Chivi states

East Palace, West Palace (1996) is a film made by Zhang Yuan, a renowned Chinese independent filmmaker widely known as “one of the Sixth Generation pioneers of illegal cinema” (Bordwell and Thompson, 2010, p.640). Despite international critical acclaim, the film was banned in China due to its controversial portrayal of homosexuality and being part of “an underground movement existing outside the state studio system” (Lim, 2006, p.30). This response will examine how East Palace, West Palace’s depiction of a homosexual persecuted-persecutor relationship between A Lan and Shi Xiaohua allegorizes “the relationship between the artist-intellectual and the state”, while the use of masochism serves to undermine state authority by granting the masochistic subject agency despite being in a position of weakness. (Lim, 2006, p.70).

Throughout the film, femininity has made some small advances towards modern day culture in a progressive manner. Sexuality as defined by the Oxford Living

Huge hair lacquered and heels high, they danced to Kraftwerk and discovered a world away from their usual suburbia. One where clothing signified sexuality. This community was a life line ‘because clothing, along with adornment and demeanour’ is ‘a primary method of identification for and of gay men’ (Cole, 2000). Bridging a gap between alternative and gay club culture, it was the answer for boys like Richard who wanted to express themselves through the ‘most outrageous, shocking clothes and dance to the music of Siouxsie and the Banshees’ and ‘meet a boyfriend’ (Cole,

First annual of Disney World's “Gay Days” in 1991, it has grown to become one of the largest gay pride events in the world. Also in February of this year, Disney World hired its “first openly gay president”, George Kalogridis (Diana Chen, 2013). As this part of article was taken present that Walt Disney break the limitation of society at that time about homosexual persons. • Promotion from within or Internal Recruitment Methods In recruiting staff in the organization of Walt Disney.

My intent would be to use this theoretical foundation to explore patriarchies impact in shaping and constraining gender norms and expressions for queer subjects, and the resultant effects on violence. Through gender performativity I could explore heterosexuality and gender roles as a performance based in repetition, and how that impacts queer gender expression (Butler, 1993). Queer theory can operate in a number of ways in my research. That is, Queer Theory, meaning theorizing about the experience of queerness, and Queer Theory meaning using a transgressive type of theory that challenges reductive paradigms by reading and writing

Queerness is antithetical to the child proper and, as such, cannot be represented upon the screen. Instead, a normative narrative of masculinity and femininity must take its

These differences contribute to the organizations ability to be flexible, generate problem solutions, relate effectively to a wide range of clients and to providing a balanced range of services. An organization can invest in developing effective employment programs and strategies that support diversity, but unless they have created an inclusive work environment, that celebrates and builds on differences and that is productive, rewarding, enjoyable and healthy for everyone concerned, they are likely to find that diversity creates more problems than it solves. They will be unable to take advantage of the benefits of diversity and are likely to have difficulty retaining employees. Work practices that make environments safe for all have achieved cultural competence and as a result are demonstrating cultural safety. Overall, this means that the workplace if spiritually, socially and emotionally respecting and appreciating different cultures and that there is no assault, challenge or denial of any person’s identity.

Overall, there were specific motifs that emerged as central points of investigation for this study; however, additional research regarding these themes as well as others that this paper does not leave room to discuss are crucial for future queer oral history

While Disney cinema appears to constantly equate queerness with evil, at the same time, they are opening the door for diverse representations of queerness by blurring the binary oppositions of gender and presenting dynamic expressions that challenge everything that is considered