Film, Paris, Burning, And The Subculture Of Black And Latina / Os

In Octavia Butler’s Dawn the idea of gender is deconstructed and reformed from the typical human’s definition. Often people do not consider the role of gender in society today. Usually the first thing one notices when meeting someone new is their gender or their presumed gender. However, there becomes a problem when the person whose gender we perceived identifies as a different gender. Butler forces the reader to examine how they judge and perceive gender. While the ooloi are actually “its” their personalities seem to imply a certain gender. The transgender community often brings up this issue because these assumptions of gender based on our judgments of what defines a male and what defines a female can skew how a transgender person is treated and addressed. In Chapter One of Gender Through the Prism of Difference by Anne Fausto-Sterling, the idea of expanding the number of genders based on one’s biological differences is examined through the five sexes theory. By now the concept of gender being defined solely by one’s biology has mostly been left in the past but the question remains of how do we truly define gender? How does being outside of the social norms that Michael Warner talks about cause us to feel shame when discussing our gender and our perceptions of gender? In this essay, I will argue that preconceived notions of gender create shame when a person’s own perception of their gender does not fit the social norms. This stigma around the limited and strict definitions

Esther Newton’s Mother Camp: Female Impersonators of America provides a unique perspective of American culture from a marginalized, often silenced part of society: drag queens. Newton’s 1960s ethnographic study offers commentary on some of the most basic understandings of America by analyzing the culture of the (mostly homosexual) drag subculture. One of the concepts Newton explores is that all gender is an act. Some conventional wisdom that many accept is the idea of a gender binary, as well as associations of masculinity and femininity with sex. As the typical drag queen involves a man adopting the attire and mannerisms of a feminine woman, he is challenging what society expects of him. Newton argues that the drag queen/female impersonator

This approach to queer subtext has been has always been a part of Western media as we as we explored in the film “The Celluloid Closet” (1995). Queer representation for many years was an continuous uncategorized personification that was vaguely acknowledged but to those who understood the subtext, it became an undercurrent of complex coded information that eventually paved the way for the integration of queer identification within the hetero film storylines. Doty speaks about this and also mentions that at some point in time representation of queer culture and sexuality

The articles by Roderick Ferguson (2004) in his book literally highlights the regulation that established sociological schools of thought impose upon the ‘queer people of color,’ or anyone who is different in terms of sexual orientation and non-white. In the very early part of the book, Ferguson depicts the imagery of a black drag-queen prostitute from Marlon Riggs’ ‘Tongues Untied.’ He goes on to describe the way capitalism, in general, and the American system in particular has conveniently excluded many like her – people of alternative sexual preferences with both African American culture and Leftist Liberal thought rooted in the heterogeneity. (Ferguson, 2004, p. 3). It is at this point that through the work of Chandan Reddy, Ferguson reminds the reader that the core of Leftist-Liberal Marxist thought revolves around the abolishment of race, gender and sexuality.

To a certain degree, seeing how these matters have progressed since the 1960s gives a good vantage to predicting where they will go in the future. In conclusion, I will look at the future of change on these matters, by examining what seems to be the "avant garde" regarding matters of sex and gender, the phenomenon of transsexualism. I hope an examination of transsexualism will point out some of the contradictions that still continue to exist in American ideas about matters of sex.

We are all living in a society that is filled with social expectations of gender. From our early age, we seem to be able to response to these expectations accordingly. For example, we notice Barbies are for girls while robots and cars are for boys only. In the “Performative Gender”, “Doing Gender”, and “Nerd Box”, authors all indicate gender is learned instead of inherited. They bring out their insightful observation and critical personal experience to illustrate how the social expectations with punitive effects construct our gender unconsciously. These articles provide a great lens for us to understand the mental state and behaviors of the main characters in Fun Home: A Family Tragicomic. In Fun Home, Alison Bechdel portrays how living in Beech Creek, Pennsylvania during the 1930s not only repressed both her father, Bruce, and her from coming out as a homosexual and genderqueer, but also trapped her mother, Helen, in her “women box”. Through the graphic memoir, Fun Home is able to present the struggling process that one may need to go through before admitting one’s unusual gender identity and sexual orientation.

Abstract: This essay seeks to explore how the 2002 Broadway production of the musical Hairspray depicts and produces inclusivity in American life in both modern and contemporaneous periods. The point of view set up in the show emulates the concept of a “white savior complex” in its efforts to showcase the perils of black people in the entertainment industry in the 1960s, along with minimizing the responsibility of white people in the systematic societal racial structure. Despite these shortcomings in historical accuracy in its overly-optimistic portrayal of segregation, Hairspray gave explicit, designated opportunities to black actors to be highly featured in a Broadway production. And unlike other shows during its time, it ultimately brought up conversations of segregation and racism in the entertainment industry in a time where these issues were seldomly addressed.

Marlon Bailey’s “Butch Queens Up in Pumps”, examines the drag ball communities of Detroit. Bailey uncovered how a specific group, the Black LGBT , are separated from or pushed out by their communities. According to Marlon Bailey , “Black LGBT people in Detroit exist within a marginalized

While this visibility does afford transvestites formal recognition, the presence of satire in their representation undermines their plight for recognition as a definition of gender expression and sexual identity (Hennessy, 2000). This, therefore, acts to police and regulate the social and cultural bodies of transvestite individuals within the neoliberal state. Therefore, men and women who show characteristics inconsistent with the neoliberal state's prescribed gender roles are often regulated and policed through the labelling of marginalized and different groups (Keyes, 2014). An autonomous, feminist and individualised woman often is subjected to ‘lesbian' labelling and this form of ‘othering' contributes to the regulation and individualised policing marginalized groups experience under the heteronormative, neoliberal state and its subsequent restrictions on gender and sexual identity (Keyes, 2014). However, the sex-gender matrix that operates under heterosexuality can often be understood in terms of the social struggle of queer visibility in the consumerist culture, to recognise not the form but the function of families in the homosexual sphere (Dnes,

Sex and gender categories, such as “men,” “women,” “masculine” and “feminine,” have been in place for generations. They are socially constructed categories and expectations assigned to children at birth, in order to regulate and shape them into this “ideal” heterosexual being. Men are expected to embrace masculine qualities, while women are required to be feminine and submissive to the male authority. Monique Wittig’s article, “One is Not Born a Woman” observes how the class of “women” is not “natural,” but is created by the society and framed by the male ideology, as a way of producing a clear gender difference between men and women. J. M Coetzee reinforces Wittig’s beliefs by sharing similar ideas of hegemonic masculinity and male dominance

For queer theorists, identity has been constructed through performativity, which is based on the opinion of Judith Butler. Butler (1990, p.25) believed that “ there is no gender identity behind the expression of gender; that identity is performatively constituted by the very ‘expressions’ that are said to be its results.” In other words, there is not any factor to produce the identity, but identity creates itself through performativity. One should imitate and repeat the gender expression again and again according to norms, then the identity will be constituted, which also shows that identity is fluid and constructed. Moreover, Jenkins (2000,2004) stated that a dynamic social process generates identity, so identity is not static but fluid and dynamic.

Both films Paris is burning and Tongues Untied were two very touching and eye opening films. Paris is burning a film that depicts the struggles of being black and being gay in a society. As we know the stereotype of being black is a struggle that black male and female face every day and when we talk about gay its again a sticky topic to elaborate on because society is “supposed” to be a certain way and if you aren’t following society’s rules then you are looked upon as an outsider. Living in today’s society is a constant battle within oneself and each other. Beatings, rejections, ridicule, threats and violence are daily struggles and realities that these men go through in order for them to pass as being a woman.

Queer theory questions creations of normal and divergent, insider, and outsider.2 Queer theorists analyse a situation or a text to determine the relationship between sexuality, power and gender. Queer theory challenges basic tropes used to organize our society and our language: even words are gendered, and through that gendering an elliptical view of the hierarchy of society, and presumption of what is male and what is female, shines through. Queer theory rejects such binary distinctions as arbitrarily determined and defined by those with social power. It works to deconstruct these binaries, particularly the homosexual/heterosexual binary.4

Canaday, M. (2014). LGBT history. Frontiers: A Journal of Women's Studies, 35(1), 11+. Retrieved from http://go.galegroup.com.proxy.davenport.edu/ps/i.do?id=GALE%7CA370396593&v=2.1&u=lom_davenportc&it=r&p=AONE&sw=w&asid=9d707445b93f162c44834c8c255b5954

Because of these homosexual’s blood-related family can’t guarantee them a sense of safety so they had to leave and find other ways to survive. These homosexuals are troubled so they eventually have meet others who are experiencing the same situations, and slowly they have formed a subcultural group called the “ball culture” - the house system or ballroom community to describe an underground LGBT subculture in the United States in which people "walk" and compete for trophies and prizes at events known as balls. In the movie Paris is Burning many of the like minded people were gathered under one roof to start their newly formed underground activities. They immediately gain their acceptance by anyone who runs the houses, people who are well respected within this community and have leadership skills to provide some sense of security to those who are lost or pushed to the edge. In this movie people who compete for trophies in the ball cultural often consider others as brothers, sisters, or even mothers because they have formed a strong connection due to their similar background and stories. These houses led by “mothers”, providing guidance and support for their house “children.” therefore serving as alternative families and safe places for LGBTs primarily consisting of Black and Latino queer youth. This queer concept, such as “family”, offers a positive alternative to the dominant culture because it opens up a new perspective about the ideology of “family.”