On the Necessity of Bad Trans Objects

IF 0.6 3区 艺术学 0 FILM, RADIO, TELEVISION
Cáel M. Keegan
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引用次数: 8

Abstract

Despite newly affirming images of transgender people proliferating across US visual media, there has been a concomitant rise in anti-transgender attitudes, transphobic legislation, and trans antagonistic violence. The assumption that more and better images of transgender people are key to achieving transgender equality strains under the weight of an emerging contradiction: “good” representation does not necessarily mean reduced social or political antagonism for transgender people. Rather, the emergence of “good” (i.e. marketable) trans media objects illustrates how the most politically challenging aspects of transgender identification are increasingly forced outside the horizon of representability. This essay turns away from “good” transgender representations and toward an archive of recently canceled “bad” transgender media objects, offering new assessments of their unexpected value. Claiming badness as a trans property that must be embraced to achieve sex and gender liberation, it defends bad trans objects as unrecognized sources of transformative potential.
论不良转换对象的必要性
尽管最近变性人的形象在美国视觉媒体上扩散,但反变性人的态度、反变性立法和反变性人暴力也随之上升。更多更好的跨性别者形象是实现跨性别平等的关键,这一假设在一个新出现的矛盾的重压下变得紧张起来:“好的”表现并不一定意味着减少对跨性别者的社会或政治对抗。相反,“好的”(即可销售的)跨媒体对象的出现说明了跨性别认同中最具政治挑战性的方面是如何越来越多地被迫超出可代表性的范围。这篇文章从“好的”跨性别表现转向最近被取消的“坏的”跨性别媒体对象的档案,对它们意想不到的价值提供了新的评估。它声称,坏是一种跨性别属性,必须被接受,才能实现性和性别解放,它为坏的跨性别对象辩护,称其为未被认识到的变革潜力来源。
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来源期刊
FILM QUARTERLY
FILM QUARTERLY FILM, RADIO, TELEVISION-
CiteScore
0.40
自引率
40.00%
发文量
36
期刊介绍: Film Quarterly has been publishing substantial, peer-reviewed writing on motion pictures since 1958, earning a reputation as the most authoritative academic film journal in the United States. Its wide array of topics, perspectives, and approaches appeals to film scholars and film buffs alike. If you love all types of movies and are eager to encounter new ways of thinking about them, then Film Quarterly is the journal for you! Scholarly analyses of international cinemas, current blockbusters and Hollywood classics, documentaries, animation, and independent, avant-garde, and experimental film and video fill the pages of the journal.
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