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Rutgers depth of field series."Dosti and Tamanna: male-male love, difference, and normativity in Hindi cinema." In: Everyday life in South Asia / edited by Diane P. In: Queer Looks: Perspectives on Lesbian and Gay Film and Video /editors Martha Gever, Pratibha Parmar, John Greyson. New York: Routledge, 1993."I sleep behind you": male homosociality and homoeroticism in Indian parallel cinema." In: Queering India: same-sex love and eroticism in Indian culture and society / edited by Ruth Vanita. Minneapolis: University of Minnesota Press, c1994."On Not Being Lady Macbeth: Some (Troubled) Thoughts on Lesbian Spectatorship." In: Immortal, Invisible: Lesbians and the Moving Image/ edited by Tamsin. "National troubles : male matters in Israeli gay cinema." In: Brother keepers : new perspectives on Jewish masculinity / edited by Harry Brod, Shawn Israel Zevit. This paper draws on feminist and queer theory to examine the liabilities of relying on these familiar situation comedy conventions, demonstrating how the program equates gayness with a lack of masculinity, relies on sexual tension and delayed consummation, infantilizes the program's most potentially subversive characters, and emphasisizes characters' interpersonal relationships rather than the characters' connection to the larger social world. 'The Only Haircut That Makes Sense Anymore': Queer Subculture and Gay Resistance. However, it is considered to be a threat to "Jewish purity" and there is strict cultural and religious prohibition against such relationships. "Daughters of darkness: the lesbian vampire on film." In: The dread of difference: gender and the horror film / edited by Barry Keith Grant. This paper explores how Will & Grace, which has been heralded in the popular press for its positive representations of gay men, situates the potentially controversial issue of homosexuality within sap and familiar popular culture conventions, particularly those of the situation comedy genre.

It seems clear that queer theories are marked by intellectual and speaking positions that cannot be so easily divided into dominant or peripheral, East or West, international or local, the West or the Rest." [Psych Info] "Evaluates changing film and mass media presentations of gays and lesbians since 1969 and reviews major scholarship on the topic.

Watching particular films with this "queer diasporic viewing practive," sex/gender play which is normative (yet still coded) in the land of the films' production can be reclaimed as queer through the differently subjective lens of transnational spectatorship, a lens removed from patriarchy, sexism, and homophobia.

This particularly becomes apparent in the Bollywood dance sequence--the frequent site of Hindi sex/gender play--whose coded queer desires are much easier to de-code (or re-code)when in the diaspora." [Article copies available for a fee from The Haworth Document Delivery Service: 1-800-342-9678.

The shape ofcollective identity - how internal instabilities and diversities are accommodated, in this case - depends not only on the emergentcharacteristics of the collective, but also on the resolution of challenges particular to organizational fields.

Monsters in the Closet: Homosexuality and the Horror Film / Harry M. Manchester [England]; New York: Manchester University Press; New York: Distributed by St. Series title: Inside popular film."The Love That Dare Not Speak Shakespeare's Name: New Shakesqueer Cinema." In: Shakespeare, the Movie: Popularizing the Plays on Film, TV, and Video / edited by Lynda E. "Using information gathered during fieldwork on New York lesbian and gay film festival organizations this paper argues thatscholarship on identity has nor paid sufficient attention to the organizational mediation of collective identity.

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