An innovative reconceptualization of the defining quality of modernity and how it relates to cinema and literary theory

In this twentieth anniversary edition of Female Masculinity-which features a new preface by the author-Jack Halberstam uncovers a hidden history of female masculinities, cataloging the diversity of gender expressions among masculine women from nineteenth-century pre-lesbian practices to contemporary drag king performances.

The contributors to Feminism against Cisness showcase the future of feminist historical, theoretical, and political thought freed from the conceptual strictures of cisness: the fallacy that assigned sex determines sexed experience.

Focusing on the Algerian War of Independence (1954-1962) and the historical continuities it presented with the experience of the Second World War, this book highlights decolonization's formative effects on art and related theories of representation, both political and aesthetic.

Why and how does the appeal of certain male Hollywood stars cross over from straight to gay audiences? Do stars lose their appeal to straight audiences when they cross over? This book responds to these questions with an analysis of three famous "crossover" stars - James Dean, Mel Gibson, and Keanu Reeves.

In Gay Liberation after May '68, first published in France in 1974 and appearing here in English for the first time, Guy Hocquenghem details the rise of the militant gay liberation movement and argues that revolutionary movements must be rethought through ideas of desire and sexuality.

Presents the history of horror films and the horror film industry in the 1950s and 1960s. This book reveals how the monsters that frightened audiences in the 1950s and 1960s - and the movies they crawled and staggered through - reflected fundamental changes in the film industry, and in the production, distribution, and exhibition of horror movies.

Offers an account of the crime story and its literary and political significance. Illuminating a previously unnoticed set of concerns at the heart of the fiction, the author contends that mid-twentieth-century American crime writers used the genre to confront and wrestle with many of the paradoxes and disappointments of New Deal liberalism.