This year's Academy Awards were important and groundbreaking, but the best film I saw in -- actually a video -- was seven years old. Made on a shoestring with unknown actors and a single set, it contained fourteen simple vignettes that all together ran about half an hour. Still, this video managed to be one of the most powerful, most complex, and, more than seven years later, one of the most urgently relevant documents I have ever seen. And I'm not alone in feeling this. Over and over, this video has stimulated hours of discussion and revelation among those who watch it.
Video: Stephanie Davis flashes her pubic hair to the contestants
Aunts Baby Girl!
Though arguably this could be said of all archives, many theorists of Queer and Feminist archiving have pointed to the way in which these collections are characterised by the ephemeral and the personal. In addition to accumulating these textual materials, gay and lesbian archives are likely to have disproportionately large collections of ephemera because of their concern with sexuality and leisure culture as well as with the legacies of grassroots political activism… In insisting on the value of apparently marginal or ephemeral materials, the collectors of gay and lesbian archives propose that affects — associated with nostalgia, personal memory, fantasy, and trauma — make a document significant. The growth of the Lesbian, Queer and Feminist Archives coalesced directly around not just activist activities, but around all aspects of Lesbian, Queer and Feminist life. These archives, and ours is certainly no exception, are full of invitations to parties, discos, bookgroups, consciousness raising session, sports groups.
The Time I Went On A Lesbian Cruise And It Blew Up My Entire Life
Produced by Ryan Murphy, Chris Bolan's heart-clutching Netflix documentary looks back on a lesbian couple's storied year romance. By Guy Lodge. This strain of familial discord lends ballast to what might otherwise be a more plainly sentimental tearjerker.
More particularly, this essay argues against a prevalent critical slippage between queer and diaspora, through which the queer is read as a mobile category that, like diaspora, disrupts the stability of fixed identity categories and thus represents a liberatory position within the material and geographical displacements of globalization. Ultimately, I argue, it is a focus on the labour through which the seemingly natural categories of gender and sexuality are produced, that a queer diasporic criticism might offer. The question that is the title of this essay is an earnest one, and I pose it to index two related but distinct lines of inquiry that arise as we confront the relation between queer theory and diaspora studies. To pose the question more broadly, what analytical possibilities open up when we consider the relation between sexuality, identity, and desire on the one hand, and the geographical mobility, estrangement, or displacement of people on the other?