The Movie About Ray Directed By Gaby Dellal

There has been much discussion about transgender adults in recent years but lately there has been a shift to the discussion of transgender children. Growing Up Coy (2016) is a documentary about a 6-year-old transgender. The documentary follows Coy and her family through a time where Coy’s parents fight for her rights as a transgender individual. This film discusses childhood gender-variant behavior, discrimination and prejudice, and proposes many questions about one’s opinions of being transgender, gender identity, etc.

In the late 1950’s to mid-1960’s, the transgender community faced discrimination such as physical and verbal harassment, denial of social spaces, and alienation in the media. This matters to us today because transgender individuals are still existing and are a part of our human population today. The community is also still struggling to find their representation in the media and in society. The transgender community is still facing a wide array of types of discrimination, from nasty looks to denied access of education. Gender identity should not be taken into consideration when determining another person’s worthiness of respect.

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

All in all, the documentary The Middle Sexes covers many controversial topics. Some of these topics include the biology of middle sexes, the dangers of being a transgender, and societies outlook on transgenders. With much analysis, I’ve realized that this film has too narrow of a perspective on transgenders and middle sexes. The restricted perspective prevents the audience from being

In her book “Gender Outlaw: On Men, Woman, and the Rest of us,” Kate Bornstein goes over a lot of the major issues regarding gender awareness and identity politics. She talks about the ideas of labeling ones self, understanding gender differences, how people view laws, behaviors, and the medical and scientific privilege that make transitioning challenging for a lot of people. Bornstein touches on many of the issues today that affect trans people. She includes poetry, pictures, quotes, essays, and a play to raise questions and discuss the idea of gender. This is a great book to introduce and discuss the issues that affect the lives of trans people as they navigate and explore the lines that define gender.

For many members of the LGBT community, especially homosexuals, they usually discover their sexuality at a very young age, just like one of the characters in “Survivors”. While many of them chose to hide it from family members and friends for various reasons, others unknowingly display stereotypical characteristics of a gay person. These characteristics could be anything from a young boy

The hate crime of Brandon brought national attention to the ideal and possibility that someone would want to change their gender. For many people, this was their first time even hearing about trans people and the violence against trans people. After his death, his identity was challenged and argued even though there are quotes from him saying he felt like a man trapped inside a woman's body. As Karina Eileraas puts it “Transgender violence targets both men and women, but Brandon Teena's case highlights its particularly brutal effects on FTM transgender individuals. Boys Don't Cry provides a clear political incentive to integrate feminist, gay, lesbian, bisexual, and transgender concerns in the analysis of violence against women...Serious risks accompany any attempt to invest the body with particular 'truths' about gender and sexuality”. Brandon was not fully accepted in life or given the support he needed but he is remembered in death and his story continues to inspire many people whether trans or not.

It provided a very accurate portrayal of the Mission district and the cultures and traditions surrounding it. Along with this movie, it was a good choice to choose movies located around the California Bay Area, such as La Mission (2009) and Fruitvale Station (2013). On the other hand, the film that I truly hated watching was Boys Don’t Cry (1999). In all honesty, I really do appreciate seeing a realistic film on the topic of transgender, but it also made me cringe in trauma with its forms of prejudice towards Brandon. If the rape scene wasn’t enough to make me dislike it, then the violent ending did the trick. Unfortunately, I do not want to offer anything better that can replace Boys Don’t Cry (1999) because I also feel that it is important for students to see the negative side of stereotyping on this topic. Transgender is still controversial and judged harshly in our community, and seeing Brandon’s perspective may help open minds and critical thinking on the topic. In total, I truly enjoyed this class and I feel that I’ve learned a lot more about Hollywood’s presentations of certain cultures. Now, when I watch films on my own, I can guarantee that I will reflect on questions of the cultures it

Furthermore, a few of his plays are written about drag queens and others about being gay. Mr. Fierstein grew up in a time when being gay was a very hard lifestyle to be open about. Over the decades the support group lesbian, gay, bisexual, and transgender community or better known as LGBT, has supported the mass movement worldwide. Mr. Fierstein set out to illustrate to the world that it is ok to be yourself, and that the LGBT community will not accept anymore bigotry. His plays focus on the hardships faced by the oppressed and by the tyrants.

We watch the transgender story of Brandon Teena unfold into a heart-wrenching tale of what it really means to tell the truth. Despite the fact that Brandon has the biological make-up of a female, he bravely takes on his world as a man, doing everything he can to introduce each person that he meets to his genuine masculinity. He picks fights with men in bars, to valiantly protect women from their lascivious intentions of the cowards, trying to get their nut off. Brandon aside from Lana, played by Chloe Sevigny, is the most authentic individual in the story, standing up for everything he believes is right. He defines people from the inside.

Intersectionality is everywhere, intersectionality is constant. Intersectionality has existed for as long as people have existed. There have always been crossroads, struggles, successes, heartaches, and heartbreaks. This is most certainly the case in Travis Fine’s film Any Day Now. This movie was based in 1979 and during this time homosexual people had no rights. There are several intersections throughout this film, mainly the ways that disability and queerness intersect. Another interesting intersection that will be up for further discussion will be how women at this time intersect with men, specifically Rudy and Paul. For this examination and discussion two sources will be utilized, Robert McRuer’s piece on “Compulsory Able-Bodiedness” and Allison Kafer’s piece “Feminist, Queer, Crip”. The discussion to follow will analyze how homosexual identities unfold in Any Day Now, how that interacts with disability, and finally how gender roles play into both.

The cisgender casting in Ma vie en rose and Tomboy confirmed thoughts and feelings that I have long felt about youth when they are trying to figure their gender identity out. Dealing with a delicate subject matter, the film portrays the 10-year-old Laure (Zoé Héran) telling her summer playmates she is a boy for the summer while her father and heavily pregnant mother relocate with Laure and her six-year-old sister, Jeanne, to an apartment block in an ex-urban environment. The directness, honesty and tone of innocence in the film is heartwarming and depicts the unsureness youth have at that age when trying to figure out who they are. Tomboy shows the comfort for which Laure, in the identity of new kid on the block Michael, whose hair cut easily

(Sandercock, 2015, p. 440). Ray has a crush on one of the girls from his school and he keeps obsessing over her: he makes videos praising her, he fantasizes about them being together and is heart-broken when she does not see him as a boy, but as a girl.

The depiction of transgender women characters in mainstream television has been offensive, insulting and derogatory. An article from GLADD called “Victims or Villains: Examining Ten Years of Transgender Images on Television”, examines 102 episodes and storylines on mainstream television that contained transgender characters since 2002. Of these, more than half were characterized as containing negative representations of transgender. In 2007 only 1% of television series had a recurring transgender character, which has slowly increased to 4% in 2013.

Homosexuality on screen has been a taboo topic since the creation of film in the late nineteenth century and remained that way until violent protest of the 1970’s sexual revolution. Continually, the overuse of hateful slurs against the gay community is still used today as comedic relief. The overall delayment in representation of homosexuals in the industry paused the long march for equal rights and resulted in inaccurate stereotypes such as the “pansy” or villains. The conservative reaction towards such liberal topics caused filmmakers to conceal “queer cinema” as production codes enforced strict laws, but as time progressed so did the involvement of the LGBT community in the film industry,