Queerness In Play
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Queerness in Play examines the many ways queerness of all kinds—from queer as ‘LGBT’ to other, less well-covered aspects of the queer spectrum—intersects with games and the social contexts of play. The current unprecedented visibility of queer creators and content comes at a high tide of resistance to the inclusion of those outside a long-imagined cisgender, heterosexual, white male norm. By critically engaging the ways games—as a culture, an industry, and a medium—help reproduce limiting binary formations of gender and sexuality, Queerness in Play contributes to the growing body of scholarship promoting more inclusive understandings of identity, sexuality, and games.
Crip Theory attends to the contemporary cultures of disability and queerness that are coming out all over. Both disability studies and queer theory are centrally concerned with how bodies, pleasures, and identities are represented as “normal” or as abject, but Crip Theory is the first book to analyze thoroughly the ways in which these interdisciplinary fields inform each other. Drawing on feminist theory, African American and Latino/a cultural theories, composition studies, film and television studies, and theories of globalization and counter-globalization, Robert McRuer articulates the central concerns of crip theory and considers how such a critical perspective might impact cultural and historical inquiry in the humanities. Crip Theory puts forward readings of the Sharon Kowalski story, the performance art of Bob Flanagan, and the journals of Gary Fisher, as well as critiques of the domesticated queerness and disability marketed by the Millennium March, or Bravo TV’s Queer Eye for the Straight Guy. McRuer examines how dominant and marginal bodily and sexual identities are composed, and considers the vibrant ways that disability and queerness unsettle and re-write those identities in order to insist that another world is possible.
B. Ruby Rich designated a brand new genre, the New Queer Cinema (NQC), in her groundbreaking article in the Village Voice in 1992. This movement in film and video was intensely political and aesthetically innovative, made possible by the debut of the camcorder, and driven initially by outrage over the unchecked spread of AIDS. The genre has grown to include an entire generation of queer artists, filmmakers, and activists. As a critic, curator, journalist, and scholar, Rich has been inextricably linked to the New Queer Cinema from its inception. This volume presents her new thoughts on the topic, as well as bringing together the best of her writing on the NQC. She follows this cinematic movement from its origins in the mid-1980s all the way to the present in essays and articles directed at a range of audiences, from readers of academic journals to popular glossies and weekly newspapers. She presents her insights into such NQC pioneers as Derek Jarman and Isaac Julien and investigates such celebrated films as Go Fish, Brokeback Mountain, Itty Bitty Titty Committee, and Milk. In addition to exploring less-known films and international cinemas (including Latin American and French films and videos), she documents the more recent incarnations of the NQC on screen, on the web, and in art galleries.
Argues for the queer potential of video games While popular discussions about queerness in video games often focus on big-name, mainstream games that feature LGBTQ characters, like Mass Effect or Dragon Age, Bonnie Ruberg pushes the concept of queerness in games beyond a matter of representation, exploring how video games can be played, interpreted, and designed queerly, whether or not they include overtly LGBTQ content. Video Games Have Always Been Queer argues that the medium of video games itself can—and should—be read queerly. In the first book dedicated to bridging game studies and queer theory, Ruberg resists the common, reductive narrative that games are only now becoming more diverse. Revealing what reading D. A. Miller can bring to the popular 2007 video game Portal, or what Eve Sedgwick offers Pong, Ruberg models the ways game worlds offer players the opportunity to explore queer experience, affect, and desire. As players attempt to 'pass' in Octodad or explore the pleasure of failure in Burnout: Revenge, Ruberg asserts that, even within a dominant gaming culture that has proved to be openly hostile to those perceived as different, queer people have always belonged in video games—because video games have, in fact, always been queer.
The horror anthology TV show American Horror Story first aired on FX Horror in 2011 and has thus far spanned eight seasons. Addressing many areas of cultural concern, the show has tapped in to conversations about celebrity culture, family dynamics, and more. This volume with nine new essays and one reprinted one considers how this series engages with representations of gender, sexuality, queer identities and other LGBTQ issues. The contributors address myriad elements of American Horror Story, from the relationship between gender and nature to contemporary masculinities, offering a sustained analysis of a show that has proven to be central to contemporary genre television.
Video games have developed into a rich, growing field at many top universities, but they have rarely been considered from a queer perspective. Immersion in new worlds, video games seem to offer the perfect opportunity to explore the alterity that queer culture longs for, but often sexism and discrimination in gamer culture steal the spotlight. Queer Game Studies provides a welcome corrective, revealing the capacious albeit underappreciated communities that are making, playing, and studying queer games. These in-depth, diverse, and accessible essays use queerness to challenge the ideas that have dominated gaming discussions. Demonstrating the centrality of LGBTQ issues to the gamer world, they establish an alternative lens for examining this increasingly important culture. Queer Game Studies covers important subjects such as the representation of queer bodies, the casual misogyny prevalent in video games, the need for greater diversity in gamer culture, and reading popular games like Bayonetta, Mass Effect, and Metal Gear Solid from a queer perspective. Perfect for both everyday readers and instructors looking to add diversity to their courses, Queer Game Studies is the ideal introduction to the vast and vibrant realm of queer gaming. Contributors: Leigh Alexander; Gregory L. Bagnall, U of Rhode Island; Hanna Brady; Mattie Brice; Derek Burrill, U of California, Riverside; Edmond Y. Chang, U of Oregon; Naomi M. Clark; Katherine Cross, CUNY; Kim d’Amazing, Royal Melbourne Institute of Technology; Aubrey Gabel, U of California, Berkeley; Christopher Goetz, U of Iowa; Jack Halberstam, U of Southern California; Todd Harper, U of Baltimore; Larissa Hjorth, Royal Melbourne Institute of Technology; Chelsea Howe; Jesper Juul, Royal Danish Academy of Fine Arts; merritt kopas; Colleen Macklin, Parsons School of Design; Amanda Phillips, Georgetown U; Gabriela T. Richard, Pennsylvania State U; Toni Rocca; Sarah Schoemann, Georgia Institute of Technology; Kathryn Bond Stockton, U of Utah; Zoya Street, U of Lancaster; Peter Wonica; Robert Yang, Parsons School of Design; Jordan Youngblood, Eastern Connecticut State U.
Document from the year 2018 in the subject English Language and Literature Studies - Literature, , language: English, abstract: What is ‘queer drama’? Since when have there been representations of queerness in British drama? Can we speak of queerness avant la lettre, and if so, what did it look like? How did queer representations in British theatre change throughout the twentieth century? What influence did stage censorship have on representations of queerness? What happened before the sudden eruption of queer drama after the abolition of stage censorship, and by which means could the legal taboo on queerness be circumvented? How did queer representations in the theatre influence notions of queerness in society and vice versa? These are some of the leading questions this book addresses. Does this book have anything to offer you? Are you gay, lesbian, or heterosexual? Are you a trans-, a-, bi-, non-sexual being? Or are you insecure of who you are? Really, it does not matter very much. You are the potential reader of this book, and if you decide to go on reading you will read things that may prove of significance to you. Because you’re human. You are a human being who can, potentially, fall in love, aren’t you? If you are, this book concerns you. Taking the beginning of the twentieth century as the starting point for discussion, this book aims at exploring representations of queerness in British drama before the abolition of theatre censorship in 1968 and at demonstrating that queerness did not merely appear in the margins of pre-1960s British theatre, but that it can be detected in its very centre, namely in many of the most popular and most successful plays of their time. To achieve this aim, a selection of plays by three eminent male playwrights writing within the British cultural and socio-political context of the first half of the twentieth century will be analysed. The focus will predominantly be on plays by William S. Maugham (1874-1965), Noël Coward (1899-1973), and Terence Rattigan (1911-1977), all of whom were extremely popular and commercially highly successful at their time. Finally, this book aims at developing and testing a cognitive model of queer reading and writing strategies which is intended to enable us to account for this seeming paradox concerning queerness in British drama before 1968, namely the paradox that British drama is full of ‘queer plays’ in spite of the taboo on representing queerness: the model of the ‘default reader’ as it is outlined in the theory part of this book and applied in the (queer) readings of plays. Now, let’s get queer.
As she explores the collaborations of Vernon Lee (Violet Paget) and Kit Anstruther-Thomson; Somerville and Ross (Edith Somerville and Violet Martin); Elizabeth Robins and Florence Bell; and Katharine Bradley and Edith Cooper (the pseudonymous Michael Field), Jill R. Ehnenn offers a timely interrogation into the different histories and functions of women's literary partnerships. Her book will be a valuable resource for scholars of Victorian culture, women's and gender studies, and collaborative writing.
Angels in South Africa: Exploring Modern Progressive and Queer Realities in South Africa through Theatre is a thesis based on the development of the South African experimental play, Angels in South Africa. The play is a reimagination of Tony Kushner℗þs Angels in America: Millennium Approaches and Angels in America: Perestroika in a South African setting. The play explores the marginalised narratives of a postcolonial South African landscape and focusses on issues of sexuality, race, gender, physical illness (with specific reference to HIV and AIDS), and mental illness. The objective of the play is to redeem narratives that adhere to these themes aÌ22́Ơ0́− and by redemption, it is meant that one voices these narratives in order to understand their value in present realities. The landscape is described as postcolonial aÌ22́Ơ0́− a state in which colonial histories still affect present realities on the landscape aÌ22́Ơ0́− post-apartheid and post-reconciliation dystopia. In Angels in South Africa (Vermeulen, 2016), I created a fictional, futuristic post-apocalyptic South African landscape that can best be described as a landfill. The play adheres to Landscape Theatre and Magic Realism. Landscape Theatre is a paradigm in which a play is mapped out as a landscape or, in the case of the research, as a landscape consisting of multiple landscapes. I used Magic Realism in order to create a space in which the boundaries between fiction and non-fiction can be blurred. The play is described as a constellation of images aÌ22́Ơ0́− ideas, thoughts, visual images, writings and events aÌ22́Ơ0́− making meaning in relation to one another. Even the actors are described as thought images aÌ22́Ơ0́− I refer to them as aÌ22́Ơ¿3Performing DenkbilderaÌ22́Ơ℗+ and I refer to the constellation through which the play is created as the aÌ22́Ơ¿3Progress-Queer ConstellationaÌ22́Ơ℗+. The theory used consists mainly of notions around Historical Materialism as described in Benjamin℗þs (1926) Theses on History, and Queer Theory as described in Halberstam℗þs (2011) connected to past events. The past is defined as an image to be retrieved from the ruins of time, in order to create a better lens of the present. To retrieve this image is to go against notions of linear progression, which is described in the research as Capitalistic Progression. Halberstam (2011:89) defines the notion of being queer as to have, either through circumstance or by design, failed normative capitalistic notions on creating one℗þs lifestyle. The research marries the notion of being queer with that of being a Historical Materialist. The research also argues that it is necessary to deviate from capitalistic, linear progressive means of structuring one℗þs lifestyle in order to voice the landscape℗þs marginalised histories. The notion is to create an environment in which newer realities can be created, instead of repeating past oppression.
This volume analyzes early modern cultural representations of children and childhood through the literature and drama of Shakespeare and his contemporaries. Contributors include leading international scholars of the English Renaissance whose essays consider asexuals and sodomites, roaring girls and schoolboys, precocious princes and raucous tomboys, boy actors and female apprentices, while discussing a broad array of topics, from animal studies to performance theory, from queer time to queer fat, from teaching strategies to casting choices, and from metamorphic sex changes to rape and cannibalism. The collection interrogates the cultural and historical contingencies of childhood in an effort to expose, theorize, historicize, and explicate the spectacular queerness of early modern dramatic depictions of children.