Queer media is not one thing but an ensemble of at least four moving variables: history, gender and sexuality, geography, and medium. Although many scholars would pinpoint the early 1990s as marking the emergence of a cinematic movement in the United States (dubbed by B. Ruby Rich the “new queer cinema”), films and television programs that clearly spoke to LGBTQ themes and viewers existed at many different historical moments and in many different forms: cross-dressing, same-sex attraction, comedic drag performance; at some points, for example, in 1950s television, these were not undercurrents but very prominent aspects of mainstream cultural production. Addressing “history” not as dots on a progressive spectrum but as an uneven story of struggle, the writers in this volume stress that queer cinema did not appear miraculously at one moment but arrived on currents throughout the century-long history of the medium. Likewise, while queer is an Anglophone term that has been widely circulated, it by no means names a unified or complete spectrum of sexuality and gender identity, just as the LGBTQ+ alphabet soup struggles to contain the distinctive histories, politics, and cultural productions of trans artists and genderqueer practices. Across the globe, media-makers have interrogated identity and desire through the medium of cinema through rubrics that sometimes vigorously oppose the Western embrace of the pejorative term queer, foregrounding instead indigenous genders and sexualities or those forged in the Global South or those seeking alternative epistemologies. Finally, though “cinema” is in our title, many scholars in this collection see this term as an encompassing one, referencing cinema and media in a convergent digital environment. The lively and dynamic conversations introduced here aspire to sustain further reflection as “queer cinema” shifts into new configurations.
Queer Theory, Sex Work, and Foucault’s Unreason
