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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.

In many film and literary representations, we find, again, the centrality of friendship life for offering gay and lesbian youth such an alternative space and relational logic for their tentative, circumlocutory, and often risky explorations.

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 types of films and videos from East Asia, which center on gay and other queer characters, are the focus of this paper and are broken into three categories: 1) feature films aimed at a mainstream market and the general culture in which they are produced; 2) independent short films and videos shot by gay Asian men; and, 3) a crossover category of features that could be said to be festival or art house films, with a niche market.

London: Pandora, 1994.""Working like a homosexual", camp visual codes and the labor of gay subjects in the MGM Freed Unit." In: Hollywood musicals, the film reader / edited by Steven Cohan. In focus--Routledge film readers."Homo Pomo: The New Queer Cinema." In: Women and Film: A Sight and Sound Reader. It is asserted that these films do not necessarily tell us about the empirical realities of gay lives in East Asian communities, but they do tell us something of what it means to be gay in East Asian cultures.

Asian American history and culture."We Are Family: Miscegenation, Black Nationalism, Black Masculinity, and Black Gay Cultural Imagination." In: Race-ing Representation: Voice, History, and Sexuality / [edited by] Kostas Myrsiades and Linda Myrsiades. Lanham, Md.: Rowman & Littlefield Publishers, c1998. Isiling Nataf -- The gay gaze, or why I want my MTV / Steven Drukman -- La Belle Dame Sans Merci? "Laughing Hysterically: Sex, Repression, and American Film Comedy." In: Queer Representations: Reading Lives, Reading Cultures: A Center for Lesbian and Gay Studies Book / edited by Martin Duberman. New York: New York University Press, c1997."Gay and lesbian criticism." In: The Oxford guide to film studies / edited by John Hill and Pamela Church Gibson ; consultant editors, Richard Dyer, et al. Tauris ; New York : Distributed in the USA by Palgrave Macmillan, 2009. Relocating the homoerotic image of the "sad young man," a trope popular from Hollywood rebellion films of the 1950s and 1960s, to contemporary China, I discuss how this masculine icon has been transformed from one of heroic rebellion to one of existential isolation.

The gaze revisited, or reviewing queer viewing / Caroline Evans, Lorraine Gamman -- Black lesbian spectatorship and pleasure in popular cinema / Z. new man' theme -- The transgressive sexual subject / Cherry Smyth -- We're here, we're queer and we're not going catalogue shopping / Gregory Woods --Monika Treut: an outlaw at home / Colin Richardson -- The wild, wild world of fanzines: notes from a reluctant pornographer / Bruce La Bruce -- ? The impossibility of visual soliloquy / Anna Marie Smith -- TVOD: the never-bending story / Colin Richardson. "The Hypothetical Lesbian Heroine in Narrative Feature Film." In: Out in Culture: Gay, Lesbian, and Queer Essays on Popular Culture / edited by Corey K. Several models are discussed." [Sexual Diversity Studies] Author Abstract: "This essay chooses as its texts three films representing contemporary gay male subjects from each of the "three" China's: HK, Taiwan, and the Mainland. He calls for an analysis of the tactical responses of (homo)sexual subjects to the historical situation of the exhibition of gay pornography. "Erasure and Taboo: A Queer Reading of Bonnie and Clyde." In: Arthur Penn's Bonnie and Clyde / edited by Lester D. He suggests that film studies in the heteronormative academy relies on the practice of close analysis to contain the threat and promise of gay pornography and the space where it is shown. Narratives of miscegenation are common in Israeli cinema. Texas film studies series." Author's Abstract: COPYRIGHT 2002 Speech Communication Association.Rather than imposition from "above" or construction from "below," the adaptive responses by organizations (to changes in both community expectationsand the resource environment) transform the collective identity formulations reaching public visibility." [Social Sciences Abstracts] Author Abstract: "In this essay, I demonstrate through numerous examples taken from four identifiable Hindi film subgenres queer themes which though nontransgressive in their native Indian context, acquire subversive value and serve as queer points of identification when viewed from a non-ationalist bias. New York: Feminist Press at The City University of New York, 1996."Diaspora sexualities : Asian American queer video in the world system." In: Ghostlife of third cinema : Asian American film and video / Glen M. Minneapolis : University of Minnesota Press, c2009. Benshoff -- The new queer spectator / Michele Aaron. Pictures at an Exhibition." In: Arthur Penn's Bonnie and Clyde / edited by Lester D. He argues that such films signify culturally and socially regardless of whether they are watched or not; how they do this has less to do with their individual content than with a broad range of forces beyond the reach of a discipline dedicated primarily to reading films.

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