Cover

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Title Page, Copyright

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Contents

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p. v

Acknowledgments

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pp. vii-viii

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1 Queer Temporality and Postmodern Geographies

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pp. 1-21

"This book makes the perhaps overly ambitious claim that there is such a thing as 'queer time' and 'queer space.' Queer uses of time and space develop, at least in part, in opposition to the institutions of family, heterosexuality, and reproduction. They also develop according to other logics of location, movement, and identification. If we try to think about queerness as..."

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2 The Brandon Archive

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pp. 22-46

"Our relations to place, like our relations to people, are studded with bias, riven with contradictions, and complicated by opaque emotional responses. I am one of those people for whom lonely rural landscapes feel laden with menace, and for many years nonurban areas were simply 'out there,' strange and distant horizons populated by hostile populations. It is still true that a..."

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3 Unlosing Brandon

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pp. 47-75

"The act of remembering, says poet and essayist Anne Carson, 'connects what is lost to what is here.' And to be unlost is to exist in that space between retrieval and obliteration where erasure waits on one side and something well short of salvation waits on the other side. In many ways, Brandon exists among the unlost; he is actively remembered by people who never knew..."

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4 The Transgender Look

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pp. 76-96

"In the last two chapters, we have seen how an archive of print and visual materials have accumulated around the figure of Brandon Teena, a young transgender man who defied the social mandate to be and to have a singular gender identity. Here, I continue to build on that archive with a consideration of the feature film Boys Don’t Cry, but I also try to expand the archive of visual..."

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5 Technotopias

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pp. 97-124

"Contemporary images of gender-ambiguous bodies by artists like Del La-Grace Volcano, Linda Besemer, and Jenny Saville, when considered in conjunction with the surprising success of the transgender film Boys Don’t Cry and the subcultural popularity of By Hook or by Crook, imply that the transgender body represents something particular about the historical moment..."

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6 Oh Behave!

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pp. 125-151

"There has been much ink spilled in popular media and popular queer culture about the intimate relations shared between gay men and straight women. The 'fag hag' role has indeed become a staple of popular film, and at least part of the explanation for how gay male culture and gay male images have so thoroughly penetrated popular film and television cultures has to do with..."

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7 What’s That Smell?

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pp. 152-187

"In the last chapter, I examined relays of influence between dominant and minority representations of eccentric gendering. Mainstream films like The Full Monty and Austin Powers might borrow or even pilfer an aesthetics of drag and gender construction from subcultural sources, and they then tend to..."

Notes

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pp. 189-192

Bibliography

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pp. 193-201

Index

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pp. 203-212

About the Author

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p. 213