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Original Articles

Whose text is it anyway?: Queer cultures, queer auteurs, and queer authorship

Pages 41-54 | Published online: 05 Jun 2009

Notes

  • 1993 . Making Things Perfectly Queer , Minneapolis : University of Minnesota Press .
  • 1939 . The Women , MGM, George Cukor .
  • 1936 . Craig's Wife , Columbia : Dorothy Arzner .
  • 1990 . Now You See It: Studies on Lesbian and Gay Film , London and New York : Routledge .
  • Fuss , Diana , ed. 1991 . “Believing in Fairies: The Author and the Homosexual,” . In Inside/Out: Lesbian Theories, Gay Theories , 185 – 201 . New York : Routledge .
  • Dyer . 1986 . Heavenly Bodies: Film Stars and Society , New York : St. Martin's Press .
  • Miller , Richard , ed. 1974 . S/Z , New York : Hill and Wang .
  • Heath , Stephen , ed. 1977 . Image‐Music‐Text , New York : Hill and Wang .
  • Miller , Richard , ed. 1975 . The Pleasure of the Text , New York : Hill and Wang .
  • 1937 . Camille , MGM, George Cukor .
  • 1933 . Little Women , RKO, George Cukor .
  • 1933 . Christopher Strong , RKO, Dorothy Arzner .
  • 1936 . Sylvia Scarlett , RKO, George Cukor .
  • 1949 . Adam's Rib , MGM, George Cukor .
  • 1933 . Dinner at Eight , MGM, George Cukor .
  • 1929 . The Wild Party , Paramount, Dorothy Arzner .
  • 1954 . A Star is Born , Warners, George Cukor .
  • 1941 . A Woman's Face , MGM George Cukor .
  • 1937 . The Bride Wore Red , MGM, Dorothy Arzner .
  • 1930 . Sarah and Son , Paramount : Dorothy Arzner .
  • Adams , Margie . 1990 . “Greta Garbo's ‘Mysterious’ Private Life,” . OUT/LOOK , Fall : 25
  • Brownworth , Victoria A. 1992 . “Just Another Soapbox” . PGN: Philadelphia Gay News , 16 ( 34 ) 19–25 June : 43
  • 1992 . Aliens , 3
  • Hadleigh , Boze . 1986 . Conversations With My Elders , New York : St. Martin's Press .
  • 1985 . The American Cinema: Directors and Directions, 1929–1968 , Chicago : University of Chicago Press .
  • Whitaker . 1981 . “Hollywood Transformed: Interviews with Lesbian Viewers,” . Jump Cut , : 33 – 35 .
  • Stevens , Peter , ed. 1981 . Jump Cut: Hollywood, Politics, and Counter‐Cinema , 106 – 118 . New York : Praeger .
  • Cottis , Jane and Brooke , Kaucyila . 1990 . Dry Kisses Only ,
  • 1941 . The Great Lie , Warners : Edmund Goulding .
  • 1954 . Johnny Guitar , Republic : Nicholas Ray .
  • 1950 . All About Eve , Twentieth Century‐Fox .
  • Mankiewicz , Joseph L. and Sagan , Leontine . 1931 . Maedchen in Uniform , Deutsche Film‐Gemeinschaft .
  • 1983 . The Hunger , MGM, Tony Scott .
  • Mayne , Judith . 1990 . “Female Authorship Reconsidered,” . In Woman at the Keyhole: Feminism and Women's Cinema , 89 – 123 . Bloomington and Indianapolis : Indiana University Press .
  • Object‐Choices , Bad , ed. 1991 . “Lesbian Looks: Dorothy Arzner and Female Authorship” . In How Do I Look?: Queer Film and Video , 103 – 135 . Seattle : Bay Press .
  • Mayne . 1991 . “A Parallax View of Lesbian Authorship,” . In Inside/Out: Lesbian Theories, Gay Theories , Edited by: Fuss , Diana . 173 – 184 . New York and London : Routledge .
  • Peary , Gerald and Kay , Karyn . 1975 . “Interview with Dorothy Arzner,” . In The Work of Dorothy Arzner: Toward a Feminist Cinema , Edited by: Johnston , Claire . 19 – 29 . London : British Film Institute .
  • Higham , Charles and Greenberg , Joel . 1969 . The Celluloid Muse: Hollywood Directors Speak , 60 – 78 . New York : Signet/New American Library .
  • Sarris , Andrew . 1967 . Interviews With Film Directors , 92 – 126 . New York : Avon Books .
  • Phillips , Gene D. 1982 . George Cukor , Boston : Twayne Publishers .
  • Carey , Gary . 1971 . Cukor & Co.: The Films of George Cukor and His Collaborators , New York : The Museum of Modern Art .
  • Clarens , Carlos . 1976 . George Cukor , London : Secker and Warburg/British Film Institute .
  • Lambert , Gavin . 1972 . On Cukor , New York : G.P. Putnam's Sons .
  • Hofsess , John . 1983 . Stallion , August for the gay porn magazine
  • McGilligan , Patrick . 1991 . George Cukor: A Double Life , New York : St. Martin's Press .
  • Lippe , Richard . 1990 . “Cukor and Authorship: A Reappraisal,” . CineAction! , Summer‐Fall : 26 34
  • Comolli , Jean‐Luc and Narboni , Jean . 1992 . “Cinema/Ideology/Criticism,” . In Film Theory and Criticism, , 4th ed. , Edited by: Mast , Gerald , Cohen , Marshall and Braudy , Leo . 687 New York and Oxford : Oxford University Press .
  • Harvey , Sylvia , ed. 1978 . May ‘68 and Film Culture , London : British Film Institute .
  • 1940 . Dance, Girl, Dance , RKO, Dorothy Arzner .
  • 1933 . Our Betters , RKO, George Cukor .
  • Peary , Danny . 1981 . Cult Movies , 331 New York : Dell .
  • 1932 . A Bill of Divorcement , RKO, George Cukor .
  • 1952 . Pat and Mike , MGM, George Cukor .
  • Sherman , Lowell . 1932 . The Greeks Had a Word for Them , RKO; Mae West's .
  • 1933 . Morning Glory , RKO .
  • As an inclusive term that can refer to gays, lesbians, bisexuals, and those with other non‐heterosexual, non‐straight sexual desires, identities, and politics, I will use “queer” in this essay rather than “homosexual” or “gay” (this latter term seems to be used less and less as a word under which to unite men and women). The essay moves between “queer” and more specific terms like “lesbian,” “gay,” “bisexual,” “butch,” “feminine gay,” etc., as the context of the discussion dictates. When related to cultural studies and used in phrases like “queer readings,” “queer positions,” and “queer pleasures,” the word “queer” is meant to suggest a range of non‐heterosexual, non‐straight cultural expressions and responses that can be articulated by anyone, regardless of their stated sexual identity. See my book Making Things Perfectly Queer (Minneapolis: University of Minnesota Press, 1993) for a more detailed account of these ideas, as well as for a longer version of this essay.

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