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10.7: Footnotes

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    308186
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    1. J. Dry, “5 Queer Films You Didn’t Know Were Queer, from Fight Club to Showgirls,” IndieWire, July 7, 2017, https://www.indiewire.com/2017/07/best-lgbt-films-you-didnt-know-were-queer-fight-club-gay-lesbian-movies-showgirls-1201851309/.
    2. J. Mayne, Directed by Dorothy Arzner (Bloomington: Indiana University Press, 1994), 63.
    3. A. Doty, Making Things Perfectly Queer: Interpreting Mass Culture (Minneapolis: University of Minnesota Press, 1993), xi.
    4. R. Dyer, Now You See It (New York: Routledge, 2013), 23.
    5. Merriam-Webster, s.v. “trope (noun),” accessed April 14, 2019, https://www.merriam-webster.com/dictionary/trope.
    6. B. R. Rich, New Queer Cinema: The Director’s Cut (Durham, NC: Duke University Press, 2013), xxv.
    7. L. J. Leff and J. L. Simmons, The Dame in the Kimono: Hollywood, Censorship, and the Production Code (Lexington: University Press of Kentucky, 2013), 270.
    8. R. Krafft-Ebing, Psychopathia Sexualis: With Especial Reference to the Antipathic Sexual Instinct; a Medico-forensic Study (New York: Rebman, 1906), 399.
    9. H. M. Benshoff and S. Griffin, Queer Images: A History of Gay and Lesbian Film in America (Lanham, MD: Rowman and Littlefield, 2006).
    10. T. Doherty, Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, 1930–1934 (New York: Columbia University Press, 1999).
    11. J. Lewis, Hollywood v. Hard Core: How the Struggle over Censorship Created the Modern Film Industry (New York: New York University Press, 2002), 304.
    12. C. A. Noriega, “‘Something’s Missing Here!’: Homosexuality and Film Reviews during the Production Code Era, 1934–1962,” JCMS: Journal of Cinema and Media Studies 58 (2018): 20, https://doi.org/10.1353/cj.2018.0089.
    13. V. Russo, The Celluloid Closet: Homosexuality in the Movies, rev. ed. (1981; New York: Harper and Row, 1987).
    14. GLAAD Media Institute, “Where We Are on TV,” https://www.glaad.org/whereweareontv.
    15. S. Sontag, Notes on “Camp” (London: Penguin, 2018).
    16. Rich, New Queer Cinema, xv.
    17. R. Becker, “Prime-Time Television in the Gay Nineties: Network Television, Quality Audiences, and Gay Politics,” Velvet Light Trap 42 (1998): 36–47.
    18. RuPaul, Lettin’ It All Hang Out (New York: Hyperion, 1995).
    19. C. Esposito, “Cameron Esposito—Woman Who Doesn’t Sleep with Men (from Same Sex Symbol),” April 6, 2014, https://youtu.be/TSJGaVuJJn8.
    20. I Am Jazz, TLC, https://www.tlc.com/tv-shows/i-am-jazz/.
    21. F. Dhaenens, “Teenage Queerness: Negotiating Heteronormativity in the Representation of Gay Teenagers in Glee,” Journal of Youth Studies 16, no. 3 (2013): 304–317, https://doi.org/10.1080/13676261.2012.718435.
    22. M. San Filippo, The B Word: Bisexuality in Contemporary Film and Television (Bloomington: Indiana University Press, 2013).
    23. L. Horak, “Tracing the History of Trans and Gender Variant Filmmakers,” Spectator 37, no. 2 (2017): 9–20.
    24. J. Puar, “In the Wake of It Gets Better,” Guardian, November 16, 2010, https://www.theguardian.com/commentisfree/cifamerica/2010/nov/16/wake-it-gets-better-campaign; T. Nyong’o, “School Daze,” October 1, 2010, Bully Bloggers, https://bullybloggers.wordpress.com/2010/09/30/school-daze/.
    25. M. Riggs, “An Interview with Marlon Riggs: Tongues Untied Lets Loose Angry, Loving Words,” interview by Robert Anbian, March 1990, http://newsreel.org/guides/Riggs-Guide/Release-Print-Riggs-Interview-1990.pdf.
    26. I Shall Not Be Removed: The Life of Marlon Riggs, directed by Karen Everett, 1996.
    27. POV, “Tongues Untied: Filmmaker Interview with Marlon Riggs,” season 4, episode 5, PBS, July 15, 1991, https://www.pbs.org/video/pov-tongues-untied-filmmaker-interview/.
    28. A. Lorde, “The Transformation of Silence into Language and Action,” paper delivered at the Modern Language Association’s “Lesbian and Literature Panel,” Chicago, December 28, 1977, https://electricliterature.com/wp-content/uploads/2017/12/silenceintoaction.pdf.
    29. Riggs, “An Interview with Marlon Riggs.”
    30. A. Leventry, “The Importance of Social Media When It Comes to LGBTQ Kids Feeling Seen,” Washington Post, September 19, 2019, https://www.washingtonpost.com/lifestyle/2019/09/20/importance-social-media-when-it-comes-lgbtq-kids-feeling-seen/.
    31. See, for example, E. Schiappa, P. B. Gregg, and D. E. Hewes, “The Parasocial Contact Hypothesis,” Communication Monographs 72, no. 1 (2005): 92–115.
    32. A. R. Flores, D. P. Haider-Markel, D. C. Lewis, P. R. Miller, B. L. Tadlock, and J. K. Taylor, “Transgender Prejudice Reduction and Opinions on Transgender Rights: Results from a Mediation Analysis on Experimental Data,” Research and Politics 5, no. 1 (2018), https://doi.org/10.1177/2053168018764945.
    33. R. Deerwater, “Color of Change, Women’s Media Center, RespectAbility, NHMC React to GLAAD’s ‘Where We Are on TV’ Findings,” GLAAD, October 30, 2018, https://www.glaad.org/blog/color-change-women%E2%80%99s-media-center-respectability-nhmc-react-glaad%E2%80%99s-%E2%80%98where-we-are-tv%E2%80%99-findings.
    34. L. J. Ross, “Speaking Up Without Tearing Down,” Teaching Tolerance, no. 61 (2019), https://www.tolerance.org/magazine/spring-2019/speaking-up-without-tearing-down.
    35. N. Buckley, dir., “Moments Later,” season 1, episode 11, Pretty Little Liars, January 3, 2011.
    36. M. Grossman, dir., “The New Normal,” season 1, episode 17, Pretty Little Liars, February 14, 2011.
    37. Grossman, “The New Normal.”
    38. Ross, “Speaking Up Without Tearing Down.”
    39. “What Is a Quinceañera and Why Is It So Important?,” My Quince, accessed July 23, 2015, https://www.myquincemagazine.com/what-is-a-quinceanera-and-why-is-it-so-important/.
    40. M. Gonzalez, “The Quinceañera, a Rite of Passage in Transition,” New York Times, June 4, 2016, https://www.nytimes.com/2016/06/05/nyregion/the-quinceanera-a-rite-of-passage-in-transition.html.
    41. P. Fryman, dir., “Quinces,” season 1, episode 13, One Day at a Time, June 4, 2016.

    This page titled 10.7: Footnotes is shared under a CC BY 4.0 license and was authored, remixed, and/or curated by Has Arakelyan.