Gay, Lesbian, Bisexual and Transgender Studies

Mission:

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Gay, Lesbian and Bisexual Studies is concerned with the analysis and critique of sexual systems, discourses and representations, particularly those which animate, inform and impinge upon the lives of lesbian, gay, bisexual and transgender people. Such systems and discourses occur in institutional, community, domestic and intimate contexts, are closely connected to other social and cultural practices (such as nationalism, education or popular entertainment), and play a critical role in the formation and communication of individual and group identity. Members also work with the ICA leadership to represent the concerns of lesbian, gay, bisexual and transgender scholars in the Association.

Announcements:

NEWS OF POTENTIAL INTEREST:

CALL FOR PAPERS:

Special Edition of Porn Studies: CFP Gay Male Porn Now!

It is now approaching 30 years since Jump Cut published the essay Men’s Pornography Gay vs Straight in which Tom Waugh was to attempt (perhaps for the first time) a systematic analysis and comparison of the representations and conditions of production, exhibition and consumption of straight and gay male pornography. In the wake of (and in the spirit of) Waugh’s intervention, a generation of scholars across Film, Media and Cultural Studies have been inspired to conduct their own studies of gay male pornography, its textual contours and its significances.

In the intervening years a great deal has changed in the media landscape and as a consequence the porn industry, gay and straight has a visibility that was inconceivable when Waugh wrote his essay in the middle of the 1980s. It’s in this radically changed context that this special edition of Porn Studies aims to take stock of the current state of scholarship that takes gay male pornography as its object of study.

From new formats and new modes of access, to new research avenues and new ways to make sense of what gay male porn means for its audience, the special edition will map the current terrain and indicate the direction for future research.

Submissions of particular interest are not limited to but may address:  *

 

       - New formats/new platforms

      -  Amateur gay porn/User generated content

      -  Bareback porn

      - Niche and fetish gay porn

     - The gay porn industry

      - Gay porn stars

      - Gay porn audiences and porn fandom

      - Discussion forums and gay porn blogs

 

This special edition of Porn Studies will be edited by Dr John Mercer

Please send abstracts of 300 words and a short biographical note to john.mercer@bcu.ac.uk and specialeditionpstudies@gmail.com

 

The deadline for proposals is end of April 2014

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NEW BOOK

Queer Tracks: Subversive Strategies in Rock and Pop Music
Doris Leibetseder, Alpen-Adria Universität Klagenfurt, Austria

‘From Grace Jones to Gaga, divas to dildos, Queer Tracks is an original and theoretically important contribution to the corpus of queer popular music studies. Through captivating accounts of rock and pop performers and texts, Doris Leibetseder’s provocative analysis of queer aesthetics, tactics and subversive strategies makes for an utterly compelling and enlightening read.’ – Jodie Taylor, Queensland Conservatorium, Griffith U, Australia and author of Playing it Queer: Popular Music, Identity and Queer World-making

‘Queer Tracks takes up its place in a growing body of scholarship genuinely concerned with queer strategies in popular music. In it, Doris Leibetseder navigates well the waters of queer theory, drawing on a wide range of theoretical concepts, from irony, parody, satire and camp, through mimesis, mimicry, and masquerade, to cyborgs and trans. Along the way, she guides the reader confidently through well-informed interpretation of a number of classic cases – Madonna, Peaches, Björk, Grace Jones, Annie Lennox – and pulls in strands from feminism and critical race theory. This book will prove a useful resource to any scholar or student in the field of popular music studies who is interested in issues of gender, sexuality, race, or identity at its broadest.’ – Freya Jarman, U of Liverpool, UK

Queer Tracks describes motifs in popular music that deviate from heterosexual orientation, the binary gender system and fixed identities.

This cutting-edge work deals with the key concepts of current gender politics and queer theory in rock and pop music, including irony, parody, camp, mask/masquerade, mimesis/mimicry, cyborg, transsexuality, and dildo. Queer Tracks is a revised translation of Queere Tracks.

Subversive Strategien in Rock- und Popmusik, originally published in German.

Contents: Introduction: historical prelude; Irony – the cutting edge; Parody – gender trouble; Camp – queer revolt in style; Mask/masquerade – transforming the gaze; Mimesis/mimicry – poetic aesthetic; Cyborg – transhuman; Trans* – border wars?; Dildo –gender blender; Fade out: looking forward; Bibliography; Index.

Sample pages are available to view online at: www.ashgate.com/isbn/9781409437024


reframe.sussex.ac.uk/gqc/about-gqc/

We are pleased to announce the launch of our new website for the Global Queer Cinema project; a collaborative research project engaged in investigating queer film cultures from a global perspective and analysing world cinema from a queer point of view. The project is led by Rosalind Galt (University of Sussex) and Karl Schoonover (University of Warwick) and it is funded by an Arts and Humanities Research Council Research Network Grant. We are partnered with the British Film Institute and CineCity – the Brighton Film Festival.

We would like to invite you to take part in the project by reading, commenting on and discussing the project over at our website. The editorial collective for the website comprises Karl, Rosalind, and Catherine Grant (University of Sussex and Film Studies for Free). Our fellow contributor is Laura Ellen Joyce (University of Sussex), GQC Project Coordinator. The website collective also benefits from the support of the international editorial advisory board of its publisher REFRAME.Writings from members of the editorial board and the GQC network are launching the site, but we are eager to publish work from guest contributors. Please see our call for contributions here.

As for what you can already find archived here, our series Queer Frames asks an author to take a look at a single frame from a movie and analyse it. Long Takes offer a deeper look at films, directors and issues in queer global cinema. There are several short series which cover themes from the Queer Uncanny to Home Movies to Queer Cosmetics.

Posts will also focus on Queer Film Cultures, raising awareness of film festivals, events and activities. In addition, there is an online, and openly accessible,queer film studies resources section.

We will update the website regularly to alert our readers to the events and opportunities arising from the GQC project. So please use our website feed for updates, and also follow and talk to us on Twitter and Facebook.

Please share this information with colleagues and friends who may be interested, and take part in our community.


 

CALL FOR PAPERS:
 
Queer Fan Cultures in Greater China, edited collection
 
 
Editors:
Ling Yang, Xiamen University;
Jing Zhao, The Chinese University of Hong Kong
 
 
Timeline:
Proposal due 30 May 2014. (1000-1500 words); Acceptance Notification by 30 July 2014; Final Submission due 30 December 2014 (5000-8500 words)
 
CALL:
Queer fandom nowadays has become a global phenomenon. It helps exemplify the complexities, anxieties, conflicts, and negotiations within and surrounding the collision of global, national, and regional cultures. Some of its subdivided fields, such as Western slash and Japanese Boys’Love (BL), have received significant academic attention since 1980s (e.g., Aoyama, 1988; Bacon-Smith 1992; Buckley 1991; Fujimoto 1991; Jenkins 1992; Kinsella 1998; Matsui 1993; Penley 1992; Russ 1985).
 
Especially in recent years, the distributions and interpretations of BL across language and geographical boundaries, the distinctiveness and similarities between BL and slash genres, the pornographic aspect of BL, slash, and other forms of queer fannish productions have been emphasized in a body of scholarly literature worldwide (e.g., Brienza 2009; Chao 2013; Galbraith 2011; Glasspool 2013; Isaksson 2009; Keft-Kennedy 2008; Levi 2009; Levi & McHarry & Pagliassotti 2010; Martin 2012; McLelland 2000; Meyer 2013; Mizoguchi 2008; Nagaike 2003; Nagaike 2009; Pagliassotti 2009; Penley 1991; Perper & Cornog 2002; Sabucco 2003; Shamoon 2012; Silvio 2011; Welker 2006; Wood 2006; Wood 2013; Zanghellini 2009).
 
Meanwhile, the blooming of Chinese queer fandoms in the past two decades has also offered rich sites of queer representations of gender and sexuality. Greatly shaped by Chinese traditional romantic literature, Japanese BL, and Western slash cultures (Feng 2009; Xu & Yang 2013; Yang & Bao 2012; Zheng 2009), contemporary Chinese queer fan cultures have been enjoying a growing diversity. The objects Chinese fans queerly fantasize about are by no means limited to local Chinese celebrities, nor to self-identified queer celebrities. The proliferation of cross-regional, cross-cultural, and transnational Chinese queer fandoms dedicated to androgynous celebrities, queer media, and popular culture is also hard to ignore. Yet, research explicating the intricacies of gender identities, sexual desires, regional differences, national belongings, and global queer cultural convergence and hybridization within Chinese queer fandoms is still far from adequate.
 
To fill this research gap, this edited collection stresses the struggles, potentials, and dynamics of queerness unveiled within a variety of the fannish contexts of Greater China. Bearing on the intersecting of global cultures studies, post-colonial studies, modern queer theory, and media audience research, we view queerness as a nonstraight spectatorial position (Doty 1993; Kohnen 2008) and/or a productive space (Munoz 1999). Accordingly, we aim to examine Chinese queer fandom as a grassroots cultural palimpsest that reconfigure, contest against, trespass, and/or overturn the dominant scripts of identity and subjectivity.
 
We seek chapter contributions that elaborate the cultural specificities, significances, transformativity, hybridity, historicity, and futurity epitomized by Chinese queer fan cultures. We are especially keen to receive manuscripts that consider the queer dimensions of gender, sexuality, desire, and fantasy from a wide range of Chinese temporal and geographical settings. We also very welcome submissions that employ interdisciplinary and/or comparative approaches.
 
Manuscript topics may include but are not limited to:
Ø Genders and Sexualities in Chinese Boys’ Love/Slash and Girls’
Love/Femslash Fandoms
Ø Queerness and Performativity in Fandoms Dedicated to Anime and Cosplay/Role-Play/Life-Play in Greater China Ø Chinese Queer Readings of Media, Popular Culture, and Celebrities Worldwide Ø Chinese Queer Fans’ Gender- and Sexuality-Related Identities, Agencies, Subjectivities, Fantasies, Desires, Connections, and Relationships within Fan Communities Ø Racial Representation, Distant Cultural Construction, and Non-Chinese Imagination in Chinese Queer Fan Cultures Ø The Interrelationship and Interaction between Chinese Queer Fandoms, Queer Organizations, Queer Movements, Queer Politics, and Queer Grassroots Publics and Communities Ø Queer, Pornographic Representations of Male/Female Sexualities in Chinese Queer Fandoms Ø The Transgressiveness, Multivalence, and Constructedness of Masculinities and Femininities in Chinese Fan-Made Queer Productions Ø Violence, Abuse, and Aggressiveness in Chinese Fan-Made Queer Productions Ø The Interplay of the Boom of Boys’ Love/Slash and/or Girls’
Love/Femslash Industries, Fans’ Passions for Queering and Queerness, and the Commercialization of and Censorship on Queer Media in Greater China
 
Note:
We are only interested in academic analytic papers grounded in certain critical/theoretical perspectives that have NOT been published elsewhere.
 
To submit chapter proposal submissions for consideration, please send a 1000- to 1500-word abstract (outlining the topic, methods, and fan-related materials used) with working bibliography and a CV to the book editors at queerfandom2014@yahoo.com  by 30 May 2014.
Acceptance will be handled on a rolling basis till the end of July, 2014. Early submissions are strongly encouraged.
Completed, well-polished papers from accepted contributors should run between 5,000 to 8,500 words and are expected before the end of December, 2014.
 

Queer Film Culture: Queer Cinema and Film Festivals

International Conference
University of Hamburg,
14-15 October 2014 in conjunction with Lesbisch Schwule Filmtage Hamburg | International Queer Film Festival (14-19 October 2014)

The queer film and festival landscape has seen vast changes in the last
25 years.  On the occasion of the 25th anniversary of the Lesbisch
Schwule Filmtage Hamburg | International Queer Film Festival we want to
assess the status of queer film culture in the form of queer cinema and
film festivals today.  Considering the availability of queer images, are
queer film festivals still necessary?  The vast number of more than 200
active festivals worldwide suggests they are.  Then, what are the tasks
and functions that queer film festivals serve for today’s queer film
culture?  What is shown at these events?  The buzz of recent arthouse
releases such as Weekend and Blue Is the Warmest Color beckons the
question: What is queer cinema today?  Have we reached a post-gay era of
global art cinema or has a the New Wave Queer Cinema arrived?

This two-day international conference hosted by the University of
Hamburg, taking place during and in conjunction with the Lesbisch
Schwule Filmtage Hamburg | International Queer Film Festival will bring
together a stellar cast of international film and festival studies
scholars, critics and festival programmers to discuss these issues.  Two
keynotes delivered by Prof. B. Ruby Rich (University of California,
Santa Cruz) and Dr. Marijke de Valck (University of Amsterdam) will
frame the conference and bring together the fields of film festival
studies and queer cinema.  In three panels we will approach Queer Film
Culture from various angles.  In a first panel, festival scholars will
present current research on LGBT/Q film festivals.  In a second panel,
festival programmers will discuss the current tasks and challenges of
LGBT/Q film festivals.  In a third panel, film scholars will assess the
current trends in queer cinema.  In addition, the documentary film Queer
Artivism, which is screened with the filmmakers in attendance, will
provide audiovisual input from five LGBT/Q film festivals.

Conference language is English.  Attendance is free.  Please register by
10 October 2014 at: conference@queerfilmculture.org.

More information is available on the conference website:
www.queerfilmculture.org.

Organization & Contact

The conference is organized by Skadi Loist with support by the Körber
Fonds Nachwuchsforschung and the Institut für Medien und Kommunikation,
Universität Hamburg.

Skadi Loist
Universität Hamburg
Institut für Medien und Kommunikation
Von-Melle-Park 6, Postfach 20
20146 Hamburg
Germany

Email: skadi.loist@uni-hamburg.de

www.queerfilmculture.org

 

 

Members:

  • Travers Scott, Chair
  • Adrienne Shaw, Chair
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