Pub Date : 2021-11-01DOI: 10.1215/23289252-9336253
B. Huff
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Pub Date : 2021-11-01DOI: 10.1215/23289252-9311004
Jules Gill-Peterson
I have long been confounded, as a brown transsexual as much as a scholar and historian of trans of color life, with the realism ascribed to the 2015 film Tangerine, a Sundance hit that chronicles the Christmas Eve of Sindee and Alexandra, two trans women of color and best friends hustling the streets of Los Angeles. Certainly the film’s director, Sean Baker, who describes Tangerine as “an entertaining film and socialist-realist film,” lent the term to critics and reviewers. Much was likewise made of the fact that Tangerinewas shot entirely on iPhones with two lead actresses who actually lived in the life, serving as Baker’s supposed “conduit to the world of transgender prostitution around the Hollywood intersection of Santa Monica Boulevard and Highland Avenue,” as one review put it (Thompson 2015). Yet the claim of realism, of the specific location and authenticity of Sindee’s and Alexandra’s performances, has always struck me as infelicitous. Much like the cis men who buy sex from the protagonists, the celebration of Tangerine’s ostensible realism has always seemed, to me, to say much more about the desires and projective expectations of its audience than what the film depicts—a work of fiction, need it be repeated, no matter how much it might be said to be verité. Why would Sindee and Alexandra reflect realism as opposed to, say, realness, a term actually invented by Black and brown trans femmes? Perhaps the answer has something to do with how trans women of color and Black trans women, especially when saturated with sensational narratives of sex work, poverty, and transsexual desire, have long been a punching bag for not only mass culture but also high theory. Think only of Judith Butler’s (1997) egregious (but quite typical for queer theory at the time) reading of Venus Xtravaganza’s death in Paris Is Burning as some kind of inevitable comeuppance for her literal failure and ideological failure to be queer enough to righteously subvert the desire for a happy, safe life. Even in the 1990s, when the word transgenderwas still in its AngloAmerican infancy, both as a term used by social service organizations working with poor trans women of color sex workers and as an umbrella category for
长期以来，作为一名棕色皮肤的变性人，以及研究有色人种变性人生活的学者和历史学家，我一直对2015年的电影《橘子》(Tangerine)的现实主义感到困惑。这部电影是圣丹斯电影节(Sundance)的热门影片，讲述了两个有色人种变性女人、最好的朋友辛德(Sindee)和亚历山德拉(Alexandra)在洛杉矶街头忙碌的平安夜。当然，这部电影的导演肖恩·贝克(Sean Baker)把《橘子》描述为“一部娱乐电影和社会主义现实主义电影”，他把这个词借给了评论家和评论家。同样，《蜜汁橙》完全是用iphone拍摄的，两位女主角都是真实生活中的人，正如一篇评论所言，她们是贝克所谓的“通往圣莫尼卡大道和高地大道好莱坞十字路口变性人卖淫世界的通道”(汤普森，2015)。然而，对于现实主义的主张，对于辛德和亚历山德拉表演的具体地点和真实性的主张，我一直觉得是不恰当的。就像那些从主角那里买欢的顺式男人一样，对《橘子》表面上的现实主义的颂扬，在我看来，似乎总是更多地表达了观众的欲望和投射期望，而不是电影所描绘的——一部虚构的作品，需要被重复，不管它可能被说得多么真实。为什么辛德和亚历山德拉会反映现实主义，而不是，比如说，真实，这个词实际上是由黑人和棕色人种的变性女性发明的?也许答案与有色人种的跨性别女性和黑人跨性别女性有关，尤其是在充斥着关于性工作、贫穷和变性欲望的耸人听闻的叙述时，她们长期以来不仅是大众文化的出气筒，也是高级理论的出气筒。想想朱迪思·巴特勒(Judith Butler, 1997)对维纳斯·特拉瓦甘萨(Venus Xtravaganza)在《巴黎在燃烧》(Paris Is Burning)中的死亡的令人震惊的(但在当时的酷儿理论中很典型的)解读，这是对她在文字和意识形态上的失败的某种不可避免的报应，因为她不够酷，无法正当地颠覆对幸福、安全生活的渴望。即使在20世纪90年代，当“跨性别”这个词还处于英美的婴儿期时，它既是一个社会服务组织使用的术语，用于帮助贫穷的跨性别女性(有色人种的性工作者)，也是一个涵盖性的类别
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Pub Date : 2021-11-01DOI: 10.1215/23289252-9311256
Laura Horak
In this interview, Disclosure director Sam Feder discusses the ambivalence of representation for trans people, their determination to hire as many trans people as possible on set, and how Disclosure evolved into the form it takes today.
{"title":"“Can We Be Visible in This Culture without Becoming a Commodity?”","authors":"Laura Horak","doi":"10.1215/23289252-9311256","DOIUrl":"https://doi.org/10.1215/23289252-9311256","url":null,"abstract":"\u0000 In this interview, Disclosure director Sam Feder discusses the ambivalence of representation for trans people, their determination to hire as many trans people as possible on set, and how Disclosure evolved into the form it takes today.","PeriodicalId":44767,"journal":{"name":"TSQ-Transgender Studies Quarterly","volume":"42 1","pages":""},"PeriodicalIF":0.7,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80559637","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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