Pier Paolo Pasolini (1922-1975) was arguably the most complex director of postwar Italian cinema. His films--"Accattone," "The Canterbury Tales," "Medea," "Salo"--continue to challenge and entertain new generations of moviegoers. A leftist, a homosexual, and a distinguished writer of fiction, poetry, and criticism, Pasolini once claimed that "a certain realism" informed his filmmaking.
Masterfully combining analyses of Pasolini's literary and theoretical writings and of all his films, Maurizio Viano offers the first thorough study of Pasolini's cinematic realism, in theory and in practice. He finds that Pasolini's cinematic career exemplifies an "expressionistic realism" that acknowledges its subjective foundation instead of striving for an impossible objectivity.
Focusing on the personal and expressionistic dimensions of Pasolini's cinema, Viano also argues that homosexuality is present in the films in ways that critics have thus far failed to acknowledge. Sure to generate controversy among film scholars, Italianists, and fans of the director's work, this accessible film-by-film treatment is an ideal companion for anyone watching Pasolini's films on video.

The first detailed treatment of the Chinese homosexual tradition in any Western language, "Passions of the Cut Sleeve" shatters preconceptions and stereotypes. Gone is the image of the sternly puritanical Confucian as sole representative of Chinese sexual practices--and with it the justification for the modern Chinese insistence that homosexuality is a recent import from the decadent West. Rediscovering the male homosexual tradition in China provides a startling new perspective on Chinese society and adds richly to our understanding of homosexuality.
Bret Hinsch's reconstruction of the Chinese homosexual past reveals unexpected scenes. An emperor on his deathbed turns over the seals of the empire to a male beloved; two men marry each other with elaborate wedding rituals; parents sell their son into prostitution. The tradition portrays men from all levels of society--emperors, transvestite actors, rapists, elegant scholars, licentious monks, and even the nameless poor.
Drawing from dynastic histories, erotic novels, popular Buddhist tracts, love poetry, legal cases, and joke books, "Passions of the Cut Sleeve" evokes the complex and fascinating male homosexual tradition in China from the Bronze Age until its decline in recent times.

Longlisted for the Polari First Book Prize 2020 Life's a drag... Why not be a queen? 'Stories like the one where you shagged a 79-year-old builder and knocked over his sister's ashes while feeding him a Viagra. Or the time you crashed your car because you were giving a hand job in barely moving traffic and took your eye off the car in front. That's the kind of dinner-party ice-breaker I'm talking about.' Northern, working-class and shagging men three times her age, Crystal writes candidly about her search for 'the one'; sleeping with a VIP in an attempt to become a world famous journalist; getting hired and fired by a well-known fashion magazine; being torn between losing weight and gorging on KFC; and her need for constant sexual satisfaction (and where that takes her). Charting her day-to-day adventures over the course of a year, we encounter tucks, twists and sucks, heinous overspending and endless nights spent sprinting from problem to problem in a full face of make-up. This is a place where the previously unspeakable becomes the commendable - a unique portrayal of the queer experience. (c) 2019, Crystal Rasmussen (P) 2019 Penguin Audio

Finalist, 2019 Lambda Literary Award in LGBTQ Studies A profound intellectual engagement with Afrofuturism and the philosophical questions of space and time Queer Times, Black Futures considers the promises and pitfalls of imagination, technology, futurity, and liberation as they have persisted in and through racial capitalism. Kara Keeling explores how the speculative fictions of cinema, music, and literature that center black existence provide scenarios wherein we might imagine alternative worlds, queer and otherwise. In doing so, Keeling offers a sustained meditation on contemporary investments in futurity, speculation, and technology, paying particular attention to their significance to queer and black freedom. Keeling reads selected works, such as Sun Ra's 1972 film Space is the Place and the 2005 film The Aggressives, to juxtapose the Afrofuturist tradition of speculative imagination with the similar "speculations" of corporate and financial institutions. In connecting a queer, cinematic reordering of time with the new possibilities technology offers, Keeling thinks with and through a vibrant conception of the imagination as a gateway to queer times and black futures, and the previously unimagined spaces that they can conjure.

"Roman Charity" investigates the iconography of the breastfeeding daughter from the perspective of queer sexuality and erotic maternity. The volume explores the popularity of a topic that appealed to early modern observers for its eroticizing shock value, its ironic take on the concept of Catholic "charity", and its implied critique of patriarchal power structures. It analyses why early modern viewers found an incestuous, adult breastfeeding scene "good to think with" and aims at expanding and queering our notions of early modern sexuality. Jutta Gisela Sperling discusses the different visual contexts in which "Roman Charity" flourished and reconstructs contemporary horizons of expectation by reference to literary sources, medical practice, and legal culture.

Since the publication of Vito Russo's seminal study The Celluloid Closet in 1981, much has been written about the representation of queer characters on screen. Until now, however, relatively little attention has been paid to how queer sexualities were portrayed in films from the silent and early sound period. By looking in detail at a succession of recently-found films and revisiting others, Shane Brown examines images of male-male intimacy, buddy relationships and romantic friendships in European and American films made prior to 1934, including Different from the Others and All Quiet on the Western Front. He places these films within their socio-political and scientific context and sheds new light on how they were intended to be viewed and how they were actually perceived. In doing so, Brown offers his readers a unique insight into a little known area of early cinema, queer studies and social history.

Gay pornography, online and onscreen, is a controversial and significantly under-researched area of cultural production. In the first book of its kind, Gay Pornography: Representations of Sexuality and Masculinity explores the iconography, themes and ideals that the genre presents. Indeed, John Mercer argues that gay pornography cannot be regarded as one-dimensional, but that it offers its audience a vision of plural masculinities that are more nuanced and ambiguous than they might seem. Mercer examines how the internet has generated an exponential growth in the sheer volume and variety of this material, and facilitated far greater access to it. He uses both professional and amateur examples to explore how gay pornography has become part of a wider cultural context in which modern masculinities have become 'saturated' by their constantly evolving status and function in popular culture.

In recent years, the representation of alternative sexuality in the horror film and television has "outed" itself from the shadows from which it once lurked, via the embrace of an outrageously queer horror aesthetic where homosexuality is often unequivocally referenced. In this book, Darren Elliott-Smith departs from the analysis of the monster as a symbol of heterosexual anxiety and fear, and moves to focus instead on queer fears and anxieties within gay male subcultures. Furthermore, he examines the works of significant queer horror film, television producers, and directors to reveal gay men's anxieties about: acceptance and assimilation into Western culture, the perpetuation of self-loathing and gay shame, and further anxieties associations shameful femininity. This book focuses mainly on representations of masculinity, and gay male spectatorship in queer horror films and television post-2000. In titling this sub-genre "queer horror," Elliott-Smith designates horror that is crafted by male directors/producers who self-identify as gay, bi, queer, or transgendered and whose work features homoerotic, or explicitly homosexual, narratives with "out" gay characters. In terms of case studies, this book considers a variety of genres and forms from: video art horror; independently distributed exploitation films (A Far Cry from Home, Rowe Kelly, 2012); queer Gothic soap operas (Dante's Cove, 2005-7); satirical horror comedies (such as The Gay Bed and Breakfast of Terror (Thompson, 2008); low-budget slashers (Hellbent, Etheredge-Outzs, 2007); and contemporary representations of gay zombies in film and television from the pornographic LA Zombie (Bruce LaBruce, 2010)) to the melodramatic In the Flesh (BBC Three 2013-15). Moving from the margins to the mainstream, via the application of psychoanalytic theory, critical and cultural interpretation, interviews with key directors and close readings of classic, cult and modern horror, this book will be invaluable to students and researchers of gender and sexuality in horror film and television.

Gay-friendly dance clubs, upmarket bars, and party circuits--such commercial venues evoke the image of a gay globe, but what happens when they are bound to a landscape of disorder, mass poverty, and urban decay? Vividly describing this world of contradictions through the prism of twenty-first-century Manila, "Under Bright Lights" challenges popular interpretations of the "third world queer" as a necessarily radical figure.

Drawing on ethnographic research, Bobby Benedicto paints a remarkably counterintuitive portrait of gay spaces in postcolonial cities. He argues that Filipino gay men's pursuit of an elusive global gay modernity sustains the very class, gender, and racial hierarchies that structure urban life in the Philippines. Benedicto examines, for example, how practices such as driving enable the emergence of a classed gay cityscape, and how scenes of networked global cities engender discourse that positions Manila within a global system of "gay capitals." And yet he also analyzes how the fantasy of gay globality is imperiled when privileged gay men from Manila, while traveling abroad, encounter Filipino labor migrants and come face-to-face with the exclusionary racial orders that operate in gay spaces overseas.

Unique in its methodological approach, "Under Bright Lights" employs affective, first-person storytelling techniques to capture the visceral experience of Manila and gay life in a third world city.

Delving into three hundred years of Chinese literature, from the mid-sixteenth century to the mid-nineteenth, "The Libertine's Friend" uncovers the complex and fascinating history of male homosexual and homosocial relations in the late imperial era. Drawing particularly on overlooked works of pornographic fiction, Giovanni Vitiello offers a frank exploration of the importance of same-sex love and eroticism to the evolution of masculinity in China.
Vitiello's story unfolds chronologically, beginning with the earliest sources on homoeroticism in pre-imperial China and concluding with a look at developments in the twentieth century. Along the way, he identifies a number of recurring characters--for example, the libertine scholar, the chivalric hero, and the lustful monk--and sheds light on a set of key issues, including the social and legal boundaries that regulated sex between men, the rise of male prostitution, and the aesthetics of male beauty. Drawing on this trove of material, Vitiello presents a historical outline of changing notions of male homosexuality in China, revealing the integral part that same-sex desire has played in its culture.

This collection of interviews with gay activists and artists is like going to dinner with people you'd love to know but don't, and Phil Gambone is the perfect stand-in for the reader: impressively prepared, sympathetic, and smart.-Andrew Holleran, author of Grief: A Novel For two years, Philip Gambone traveled the length and breadth of the United States, talking candidly with LGBTQ people about their lives. In addition to interviews from David Sedaris, George Takei, Barney Frank, and Tammy Baldwin, Travels in a Gay Nation brings us lesser-known voices-a retired Naval officer, a transgender scholar and ""drag king,"" a Princeton philosopher, two opera sopranos who happen to be lovers, an indie rock musician, the founder of a gay frat house, and a pair of Vermont garden designers. In this age when contemporary gay America is still coming under attack, Gambone captures the humanity of each individual. For some, their identity as a sexual minority is crucial to their life's work; for others, it has been less so, perhaps even irrelevant. But, whether splashy or quiet, center-stage or behind the scenes, Gambone's subjects have managed-despite facing ignorance, fear, hatred, intolerance, injustice, violence, ridicule, or just plain indifference-to construct passionate, inspiring lives. ""By asking good questions and really listening, Philip Gambone opens an illuminating window into the minds, hearts, and guts of a fabulous array of extraordinary Americans. At this critical time in America's decades-long movement toward LGBTQ equality, you really shouldn't miss this view.""-Will Fellows, author of Farm Boys: Lives of Gay Men from the Rural Midwest

Spain in the twentieth century gave birth to an array of astounding artistic and literary talent, including the passionately iconoclastic writer Federico Garcia Lorca. But his works were ill received in the homophobic atmosphere of institutionalized Spanish criticism. Because of this atmosphere, even today's critics have effectively marginalized and disavowed intimations of homo-affectivity and homoeroticism in the great Spanish works. This book first appeared in Spain in 1991 as counter-discourse against those prevailing ideological structures. Before its appearance, no significant work had focused on the position of Spanish culture towards homosexuality or on how homosexuality could affect the works of canonical writers. Engaging with homosexuality as an imperative source of meaning in artistic work, this volume rigorously studies the works of Federico Garcia Lorca and several of his marginalized homosexual contemporaries, including Emilio Prados, Luis Cernuda, Juan Gil-Albert, and Salvador Dali. The study relies on the textual evidence presented by these authors to define the homosexual culture as one plagued by the realities of rejection, fear of the law, self-doubts, the lack of an authorized language with which to convey emotions, the awareness of disgust around the individual, the need to accept marginality to find sexual or emotional satisfaction, and the knowledge of one's own social divergence, all of which have an enormous influence on any artist's work. With this new and updated translation, this work offers English-speaking readers the opportunity to focus on formal aspects of literary expressions of homosexuality.

In this long-awaited book, David M. Halperin revisits and refines the argument he put forward in his classic" One Hundred Years of Homosexuality": that hetero- and homosexuality are not biologically constituted but are, instead, historically and culturally produced. "How to Do the History of Homosexuality" expands on this view, updates it, answers its critics, and makes greater allowance for continuities in the history of sexuality. Above all, Halperin offers a vigorous defense of the historicist approach to the construction of sexuality, an approach that sets a premium on the description of other societies in all their irreducible specificity and does not force them to fit our own conceptions of what sexuality is or ought to be.
Dealing both with male homosexuality and with lesbianism, this study imparts to the history of sexuality a renewed sense of adventure and daring. It recovers the radical design of Michel Foucault's epochal work, salvaging Foucault's insights from common misapprehensions and making them newly available to historians, so that they can once again provide a powerful impetus for innovation in the field. Far from having exhausted Foucault's revolutionary ideas, Halperin maintains that we have yet to come to terms with their startling implications. Exploring the broader significance of historicizing desire, Halperin questions the tendency among scholars to reduce the history of sexuality to a mere history of sexual classifications instead of a history of human subjectivity itself. Finally, in a theoretical "tour de force," Halperin offers an altogether new strategy for approaching the history of homosexuality--one that can accommodate both ruptures andcontinuities, both identity and difference in sexual experiences across time and space.
Impassioned but judicious, controversial but deeply informed, "How to Do the History of Homosexuality" is a book rich in suggestive propositions as well as eye-opening details. It will prove to be essential reading for anyone interested in the history of sexuality.

Find the facts, figures, and connections you need on the Internet This powerful reference tool is the most comprehensive, reliable guide to Internet resources for the LBGTQ community. More than just a guide to useful Web sites, it also evaluates LGBTQ mailing lists, message boards, search engines, and portals. The Harvey Milk Institute Guide to Lesbian, Gay, Bisexual, Transgender, and Queer Internet Research provides background information as well as useful URLs. It covers the history and objectives of major sites. The in-depth interviews with leaders of the queer Internet include discussions with Barry Harrison, Director of Queer Arts Resources, and Sister Mary Elizabeth, founder of AEGiS. The Harvey Milk Institute Guide to Lesbian, Gay, Bisexual, Transgender, and Queer Internet Research includes resources for a variety of academic disciplines, including: the humanities the social sciences law labor studies media studies transgender and intersex studies and more Edited by Alan L. Ellis, co-chair of the institute's board of directors, The Harvey Milk Institute Guide to Lesbian, Gay, Bisexual, Transgender, and Queer Internet Research is an indispensable tool for researchers, community leaders, and scholars.

Sexual scandals in the Roman Catholic Church have been highly public in recent years, and increasingly shrill directives from the Vatican about homosexuality have become commonplace. The visibility of these issues begs the question of how the Catholic Church can be at once so homophobic and so homoerotic. Mark D. Jordan, the authors of the award-winning "The Invention of Sodomy in Christian Theology", takes up this fundamental question in a deeply learned yet readable study of the relationship between male homosexuality and Catholicism. "The Silence of Sodom" is devoted, first, to teasing out the Church's complex bureaucratic language about sexual morality. Rather than trying to point out that official Catholic documents are simply wrong in their discussions and directives regarding homosexuality, Jordan examines the rhetorical devices used by the Church throughout its history to actively produce silence around the topic of male homosexuality. Arguing that we cannot find the Church's knowledge of homosexuality in its documents, Jordan looks to the unspoken but widely known features of clerical culture to illuminate the striking analogies between clerical institutions and contemporary gay culture, particularly in the mechanisms of discipline, the training of seminarians and the ambiguities of liturgical celebration. The Catholic Church's long experiment with masculine desire cannot be discovered through sensationalist trials of priest-paedophiles or surveys of gay clergy. "The Silence of Sodom" looks deeply into the intertwining, in words and deeds, of Catholicism with homoeroticism; it is a profound reflection on both "being gay" and "being Catholic".

Do gay men communicate with each other differently than they do with straight people? If they do, how is "gay men's English?" different from "straight English"? This work addresses these questions and looks at gay men's English as a cultural and a linguistic phenomenon. This text focuses not on items of vocabulary, word history and folklore but on linguistic practices - co-operation, negotiation and risk-taking - which underlie gay men's conversations, storytelling, verbal duelling, self-description and construction of outrageous references. The author "reads" conversations for covert and overt signs of gay men's English, using anecdotes drawn from gay dinner parties, late-night airplane flights, restaurants, department stores and gourmet shops, and other all-gay and gay/straight settings. He incorporates material from other interviews and discussions with gay men, life-story narratives, gay magazines, newspapers, books and material from his own life. The topics addressed include establishing the gay identities of "suspect gays", recollections of gay childhood, erotic negotiation in health club locker rooms, and gay men's language of AIDS. The text shows how gay English speakers use language to create gay-centred spaces within public places, to protect themselves when speaking with strangers, and to establish common interests when speaking with "suspect gays". It also explores why learning gay English is a critical component in gay men's socialization and the acquisition of gay culture.

Taking into account recent historic changes, this second edition updates the essays on the Supreme Court, same-sex marriage, the Right, and trans history. Authors of several other essays have taken the opportunity to add new material and references where warranted.

John Reid's The Best Little Boy in the World was hailed as a classic memoir of growing up gay in a straight world. But "John Reid" didn't write it. Years would pass before the writer could reveal his true identity as Andrew Tobias, America's bestselling financial guru, author of The Only Investment Guide You'll Ever Need. Now, twenty-five years later, Tobias, proud to use his real name, brings his remarkable life story up to date.

Writing with his customary charm and frank humor, Tobias tells of love affairs and heartbreak, hot New York parties and tough political battles, the excitement of genuine social change and the tragedy of seeing dear friends die young. Here too are the unforgettable scenes of Tobias revealing his sexual orientation not only to his parents but to the president of the United States.

The author is an irresistible companion as he shares with us his proud stories, embarrassing confessions, and hilarious musings on "the homosexual lifestyle." Witty, heartfelt, and wonderfully affirming in every sense, this is Andrew Tobias's finest book to date.

In the aftermath of the historic 1993 March on Washington for gay and lesbian rights, Keith Boykin, in One More River to Cross, clarifies the relationship between blacks and gays in America by portraying the "common ground" lives of those who are both black and gay.



Against a backdrop of civil rights and the black experience in America, Boykin interviews Baptist ministers, gay political leaders, and other black gays and lesbians on issues of faith, family, discrimination, and visibility to determine what differences--real and imagined--separate the two communities. Boykin points to evidence of African and precolonial same-sex behavior, as well as figures like James Baldwin and Bayard Rustin, to dispel the myth that homosexuality is a "white thang," while his research suggests that blacks are less homophobic than whites, despite the rhetoric of rap and religion. With stories from his own experience as well as that of other black gays and lesbians, Boykin targets gay racism and black homophobia and suggests that conservative forces have substituted the common language of racism for homophobia in order to prevent a potentially powerful coalition of blacks and gays.



By portraying what it means to be black and gay, One More River to Cross offers an extraordinary window into a community that challenges this country's acceptance of its minorities, both racial and sexual.

Is there such a thing as an American gay culture--a set of styles, values, and behaviors that arises not from ethnicity or religion but from sexual orientation? How is that culture transmitted? And how is it likely to survive the depradations of homophobia and AIDS? These questions are explored by Browning, a reporter for NPR.

"It's Magic Time!" That colorful promise began each performance at the Caffe Cino, the storied Greenwich Village coffeehouse that fostered the gay and alternative theatre movements of the 1960s and launched the careers of such stage mainstays as Sam Shepard, Lanford Wilson, Robert Heide, Harry Koutoukas, Robert Patrick, Robert Dahdah, Helen Hanft, Al Pacino, and Bernadette Peters. As Off-Off-Broadway productions enjoy a deserved resurgence, theatre historian and actor Wendell C. Stone reopens the Cino's doors in this vibrant look at the earliest days of OOB.

Rife with insider interviews and rich with evocative photographs, "Caffe Cino: The Birthplace of Off-Off-Broadway" provides the first detailed account of Joe Cino's iconic cafe theatre and its influence on American theatre. A hub of artistic innovation and haven for bohemians, beats, hippies, and gays, the cafe gave a much-sought outlet to voices otherwise shunned by mainstream entertainment. The Cino's square stage measured only eight feet, but the dynamic ideas that emerged there spawned the numerous alternative theatre spaces that owe their origins to the risky enterprise on Cornelia Street.

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