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1 10 20 https://transcultural.oberlincollegelibrary.org/files/original/7c3dad739666e8460d36f6b919c528a5.jpg 259fffe90b1578bfb6c164e838832ac3 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tangerine Description An account of the resource Tangerine is an indie film directed by Sean Baker. The film, shot on several iPhone 5Ss, centers around two black trans women sex workers, Sin-Dee and Alexandra, played by trans actors Kitana Kiki Rodriguez and Mya Taylor respectively. While Tangerine’s release is a huge step forward for trans representation in media, the fact that the director, writer, and most of the production crew were white, cis men cannot be ignored when analyzing this film as an object of trans culture. Critical reception of the film has been overwhelmingly positive, with many marking it as a “comedy” despite the serious subject matter that it covers. The story follows Sin-Dee who, after hearing from her close friend Alexandra that her boyfriend and pimp, Chester, has cheated on her with a white cis woman, goes on a journey across LA to find answers. At the same time, it follows Razmik (Karren Karagulian), an Armenian taxi driver who is a regular of trans sex workers in the same area, and how his actions impact his life and marriage. These two narrative threads ultimately collide in the film’s climax, when Razmik and his family meet Sin-Dee, Alexandra, and Chester in a small donut shop. While the film is a huge step forward for trans representation in media, considering the people that made up the production crew, it is difficult to separate their positionality (white, cis men) from some of the film’s more poignant moments. Having a film that is so strongly rooted in race and interracial relations be spearheaded by a mostly white crew is tricky to navigate and makes the film feel less genuine in parts, the steps that Tangerine takes for transwomen cannot be discounted. Creator An entity primarily responsible for making the resource Baker, Sean (director, writer) Bergoch, Chris (writer) Publisher An entity responsible for making the resource available Duplass Brothers Through FIlms Date A point or period of time associated with an event in the lifecycle of the resource 2015 Contributor An entity responsible for making contributions to the resource Mia Park Format The file format, physical medium, or dimensions of the resource Moving Image Language A language of the resource English Type The nature or genre of the resource Video https://transcultural.oberlincollegelibrary.org/files/original/abdf56300a1dd076666c864346adbeb2.jpg ddded32582daaf1efa99cde0f8fb0e72 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Nevada Description An account of the resource Imogen Binnie’s 2013 novel, Nevada, is a dark comedy that follows Maria Griffiths, a 29 year old transwoman living in New York who begrudgingly navigates the impending doom of her relationship, unemployment, identity politics and queerness. Binnie utilizes an inner monologue form, where the text is mostly comprised of Maria’s internal thought processes and reflections, dotted with the perspectives of those Maria interacts with, such as an ex lover and new acquaintance. While Binnie’s protagonist, or antagonist as some readers have noted, is trans, the novel does not follow the tropes so often seen in books, movies, and other forms of pop culture centered around trans characters. It doesn’t focus solely on transition or a singular transition, but rather paints Maria as a three dimensional human whose transness extends far beyond that timeline. Through this fictional approach, Binnie demonstrates the complexity of Maria’s identity, and shows that transness is not truncated and dictated solely by medical transition. She shows that transness is more complicated and dynamic than that, and that characters can be trans but also full fledged human beings. Binnie captures the intricacies of pain and how engaging with one’s issues intellectually is often a coping mechanism used by those who need to distance themselves from internal agony. Maria is a self-sabotaging trainwreck who screws everything up, but simultaneously manages to draw empathy from readers. She is equal parts exasperating and endearing, where so many of her actions and comments are relatable. Creator An entity primarily responsible for making the resource Binnie, Imogen Publisher An entity responsible for making the resource available Topside Press Date A point or period of time associated with an event in the lifecycle of the resource 2013 Contributor An entity responsible for making contributions to the resource Anya Katz Format The file format, physical medium, or dimensions of the resource Text Language A language of the resource English Type The nature or genre of the resource Book addiction transfeminine https://transcultural.oberlincollegelibrary.org/files/original/f5844041ecb47ab017b81fb1ee5fedae.jpg afdce7871b4ff9d041c7386f7b388cd9 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Book Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Freakboy Subject The topic of the resource A YA novel written in verse telling the story of three young people who explore gender identity and sexuality in different ways. Creator An entity primarily responsible for making the resource Clark, Kristen Publisher An entity responsible for making the resource available Farrar Straus Giroux Books for Young Readers Date A point or period of time associated with an event in the lifecycle of the resource 2013 Contributor An entity responsible for making contributions to the resource Burger, Nia Rights Information about rights held in and over the resource Copyright 2013 by Kristen Elizabeth Clark. All rights reserved. Format The file format, physical medium, or dimensions of the resource Book Language A language of the resource English Description An account of the resource Freakboy is a novel written in verse meant to engage with young adult readers. The format works to highlight the differences between the three characters as well as to convey tone and inner thought processes. For example, at times when Brendan’s thoughts are very active and he is anxious about his gender identity, the word “transsexual” is printed haphazardly throughout several pages of the book in large, bold font. This use of formatting helps the reader to “get inside” the character's head. Each character in the book has their own font and they trade off narrating the story of Freakboy. At times, these passages read almost as journal entries from each character, detailing their days. The author of Freakboy is a white cisgender woman who has a genderqueer child. Clark talks about her positionality in a FAQ style piece published on tumlr.com where she asks “who am I to be telling this story?” I think Clark’s reflexivity is crucial to the placement of this book in a transgender cultural archive. She goes on to explain that she asked questions along the way and wrote it with her child looking over her shoulder. Doing your research, so to speak, is is crucial to writing about people who are different than you, especially when those differences are marginalized. Equally important is the author’s note that acknowledges the diversity and number of “trans stories” making it clear that she is not trying to tell the trans story or to have this book speak for all trans identities. Clark doesn’t do such a good job at “doing the research” when it comes to race and racial descriptions of the characters. One character Angel, is coded as Latinx/Black with the language used in her sections of the book. One example is the use of the word “Girl” during Angel’s section when it feels like Clark is trying to index Blackness through casual language rather than examining how racial identity affects Angel’s life and experiences. Some of this could be read as Clark trying to code Angel as “mature” or older than Brendan and Vanessa, but Clark’s intentions still remain questionable. Further, the racial coding of Brendan and Vanessa seems non existent (read: white) leading me to believe that Angel was intentionally coded as non-white. Clark would have benefitted from researching the language surrounding characters of color and paying closer attention to the ways she is consciously and/or subconsciously coding her characters. cisgender author young adult https://transcultural.oberlincollegelibrary.org/files/original/bdcf25a294ce3794ceb9b336b27cbee0.jpg 42e1d3cfd33aec4f971fbf8364558054 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Real Man Adventures Description An account of the resource <em>Real Man Adventures</em> is an experimental memoir written by T Cooper, though the back cover declares “Real Man Adventures is not a memoir. It’s an adventure story – and one packed with all the requisite dark alleys, disguises, leading ladies, and plot twists.” More explicitly, it is T Cooper’s life story and experience living as a trans man, illustrated through a variety of forms, including interview, essay, personal narratives, and even illustrations. In pushing back against traditional “born in the wrong body” and other harmful trans narratives, Real Man Adventures is a useful book for both trans people and cis people looking to educate themselves. <br />While the book offers some details into Cooper’s early life and wrestling with trying to understand his gender identity, it primarily works to subvert other mainstream depictions and understandings of transness with a confident assertion of masculinity. The book doesn’t exactly have an overarching narrative, but is instead broken up into many small, discontinuous sections, each of which unpacks some part of Cooper’s own experiences. Some are straightforward: anecdotes from his own life, essays on topics like pronouns or passing, even sections from letters he wrote to his parents. Others are less explicitly about his own experiences – interviews with other trans people, family members, and in one case, a male exotic dancer – but all contribute to either how people view his own identity or construct their own masculinity. Though the book is accessible to cis audiences as well as trans ones, he pushes back against the pressure to share more personal aspects of his life and transition usually put upon trans people who share their story: he refuses to share more intimate details like his sex life and a step-by-step documentation of his transition overe time. That being said, his confidence and self-awareness in withholding information is part of what gives the book its distinctive voice: a charming, funny, but no-nonsense presentation of a trans experience. It is as much a piece about his life and the way his experiences inform his identity as it is about sharing his personal experience as a trans man. Creator An entity primarily responsible for making the resource Cooper, T Publisher An entity responsible for making the resource available McSweeney's Books Date A point or period of time associated with an event in the lifecycle of the resource 2013 Contributor An entity responsible for making contributions to the resource Mia Park Format The file format, physical medium, or dimensions of the resource Text Language A language of the resource English Type The nature or genre of the resource Book transmasculine https://transcultural.oberlincollegelibrary.org/files/original/7b811e659442f2ec10c9e2cc76c95cbc.png 206a10f32c9ecc5055b839734538aa46 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Phillipe Cunningham Oral History Description An account of the resource This video of Andrea Jenkins interviewing Phillipe Cunningham is one entry in the Transgender Oral History Project, an initiative of the Jean-Nickolaus Tretter Collection in GLBT Studies at the University of Minnesota. The project, which comprises 200 interviews, aims to uplift the voices of trans and gender nonconforming people throughout the Upper Midwest. According to Jenkins, the project’s oral historian, “the goal and the purpose of the project is to really provide context, provide awareness to change the cultural narrative around the transgender community by listening and sharing the stories of transgender people.” Phillipe Cunningham has worked for years as a teacher and youth worker, and for the past several years has been involved with the City of Minneapolis’s Youth Violence Prevention Executive Committee as well as serving as a senior policy aide and advisor to the Minneapolis mayor’s office. During the interview he speaks to how his life experiences as a multiracial Black trans gay man have affected both his personal life and political aspirations. Aside from heading the Transgender Oral History Project, interviewer Andrea Jenkins is also a celebrated poet, artist, and activist. Prior to her work as an oral historian, she was a policy aide to several Minneapolis city councilmembers for twelve years. Both Cunningham and Jenkins were historically elected to the Minneapolis City Council in November of 2017. Creator An entity primarily responsible for making the resource Cunningham, Phillipe (narrator); Jenkins, Andrea (interviewer) Source A related resource from which the described resource is derived <a href="https://umedia.lib.umn.edu/node/1182224" target="_blank">https://umedia.lib.umn.edu/node/1182224</a> Publisher An entity responsible for making the resource available The Transgender Oral History Project: University of Minnesota Tretter Collection in GLBT Studies Date A point or period of time associated with an event in the lifecycle of the resource 09/25/2015 Contributor An entity responsible for making contributions to the resource Eliza Edwards Format The file format, physical medium, or dimensions of the resource Moving image Language A language of the resource English Type The nature or genre of the resource Oral History biracial Black American ftm gay medical industrial complex mixed race poc rural transmasculine https://transcultural.oberlincollegelibrary.org/files/original/1ed5bd1971c445ea9030713df7538fdc.jpg 490e8712393aff0fe482e6c112201d44 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pole Dancing to Gospel Hymns Description An account of the resource Pole Dancing to Gospel Hymns is the first book by genderqueer, spoken word poet Andrea Gibson, originally published in 2006 by Write Bloody Publishing. This book is as diverse in topics as the political climate into which it was produced. Through their electric words, Andrea meditates on themes of queer love, sex-positivity, post-traumatic stress disorder, sexual assault, non-binary gender identities, body positivity, chronic illness, hate crimes, race relations, childhood, religion, suicidality, and marriage equality. This list is not by any means exhaustive, and only is testament to the eloquence with which Gibson considers the many hardships their life has thrown them and members of the communities they inhabit. This book reads as an exploration of these themes more than anything else. At times, Gibson makes reference to their own identity formation and life, but nonetheless, their poems leave you certain they have peered through a window straight into your own. As the written accompaniment to twenty-six of their spoken word poems, this book does not capture the same experience as hearing these poems performed aloud, but does allow the reader a freer interpretation of their words. Their poetry is brilliant in its simplicity; their metaphors are simultaneously obvious, gentle, and expertly crafted. They leave you with lines that make you feel more than think, such as: “When two violins are placed in a room, if a chord on one violin is struck, the other violin will sound the note. If this is your definition of hope, this is for you.” Creator An entity primarily responsible for making the resource Gibson, Andrea (Author) Angerer, Drew (Cover Photo) Mojgani, Anis (Illustrator) Deschenes, Lea C. (Interior Layout) Brown, Derrick (Editor) Byram, Saadia (Editor) Publisher An entity responsible for making the resource available Write Bloody Publishing Date A point or period of time associated with an event in the lifecycle of the resource 2008 Contributor An entity responsible for making contributions to the resource Hannah Tobin-Bloch Language A language of the resource English Type The nature or genre of the resource Book Format The file format, physical medium, or dimensions of the resource Text nonbinary https://transcultural.oberlincollegelibrary.org/files/original/7aff31efece47f0838c3143122b39681.jpg 572b5681093dfb3712cb7b1bbe49c3b3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kumu Hina Description An account of the resource “Kumu Hina” is a documentary film that tells the story of Hina Wong-Kalu, a native Hawaiian mahu, or third gender person. This documentary came out in 2014 and was co-directed by Dean Hamer and Joe Wilson, two cis white Americans. While the directors shared no identity with the topic of the film, they brought on both Connie M Florez as a co-producer and Leonelle Akana as an advisor to the film, two women of color with cultural connections to Hawaii. Throughout the documentary, Hina is shown as an honored kumu, or teacher, cultural practitioner, and community leader. She is especially depicted as a mentor to Hoʻonani Kamai, a young mahu, who becomes the leader of an all male hula troupe, despite being assigned female at birth. Both Hina and Ho’onani talk extensively about their life “in the middle,” and Hina teaches her students about the cultural significance of mahu identity, almost wiped out with colonization. Throughout the documentary, Hina also longs for a loving, committed relationship, despite her status as mahu. This documentary explores themes of colonialization, love and relationships, and transgender/mahu/”in the middle” gender identities. Creator An entity primarily responsible for making the resource Hamer, Dean Wilson, Joe Publisher An entity responsible for making the resource available Qwaves and Independent Television Service in association with Pacific Islanders in Communications Date A point or period of time associated with an event in the lifecycle of the resource 2014 Contributor An entity responsible for making contributions to the resource Olivia Millar Format The file format, physical medium, or dimensions of the resource Moving Image Language A language of the resource English, Hawaiian, Tongan Type The nature or genre of the resource Video colonization mahu nonbinary poc third gender https://transcultural.oberlincollegelibrary.org/files/original/3d57f7794e212c1346e9ede47061a087.pdf d8064dec61ef4e1474bc7a82cfa83349 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Knife Cuts Both Ways Description An account of the resource <p>&nbsp; &nbsp; &nbsp; &nbsp; Serena Jara is a photographer who works out of New York City, and is a trans woman whose work primarily focuses around women of trans experience. One specific woman in whom Jara has come to see as a mother figure, Cecilia Gentili is the storyteller and model featured in the zine The Knife Cuts Both Ways. With Gentili as the model and storyteller, Jara as the photographer and transcriber of Gentili’s words, and Gogo Graham as the fashion designer, The Knife Cuts Both Ways is a zine fully produced by trans women that acts as an ethnography of Gentili’s life and beauty. Gentili shares with us how her Grandmother bought her a wig for her elementary school talent show, insisting she understand it was other people’s opinions of Gentili that had to change, not Gentili herself. She shares her experiences with sex work in a darkly humorous tone, making light of the difficult life she had led. <br />&nbsp; &nbsp; &nbsp; &nbsp; Jara says that this zine “creates a non-linear narrative around our photographic relationship spanning the last five years.” She states that “Because Cecilia has acted as a trans mother towards me and several of my sisters, I began to imagine scenarios of intimacy and suspense where she embodied my own dramatized projections of her as powerful, emblematic, and goddess-esque.”</p> Creator An entity primarily responsible for making the resource Jara, Serena Gentili, Cecilia Publisher An entity responsible for making the resource available Serena Jara Date A point or period of time associated with an event in the lifecycle of the resource 2015 Contributor An entity responsible for making contributions to the resource Josie Owens Format The file format, physical medium, or dimensions of the resource Text Still images Language A language of the resource English Type The nature or genre of the resource Zine self-published transfeminine Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Crying Game Description An account of the resource The Crying Game is a thriller, directed and written by Neil Jordan, that came out in 1992. It was nominated for more than 50 film awards, winning Best British Film in the BAFTA awards, Best Screenplay in the Boston Society of Film Critics Awards, and many other prestigious honors. The film begins with Jody, a black British soldier who has been kidnapped by the Irish Republican Army (IRA), and Fergus, a volunteer with the IRA who has been assigned to be Jody’s keeper. The two men bond in spite of their captive / captor relationship. Jody speaks of his girlfriend and asks Fergus to find her once Jody has been killed. Eventually Fergus is told that he must kill Jody and a chase through the woods ensues, wherein it is unclear whether Fergus will actually shoot his hostage. The question is moot, however, because Jody runs into a nearby road and is hit by a tank just as the IRA headquarters are bombed. The film skips forward a few months to Fergus, who operates under the alias Jimmy, tracking down Jody’s girlfriend, Dil. Fergus/Jimmy seduces Dil, never telling her that he knows Jody, let alone that he is responsible for Jody’s death. They fall in lust and it is here that the “big surprise” of the film takes place: the camera pans down Dil’s body, revealing her penis. Fergus/Jimmy responds in violence to the sight of Dil’s genitals, hitting her, then running to the bathroom and vomiting. The events that follow, as well as the lens through which the preceding scenes are remembered, promote the common and harmful trope of transwomen as deceitful and manipulative vixens, bent on tricking “straight” men into sleeping with them. Amidst a flurry of violent subplot, Fergus/Jimmy forces Dil to cut her hair, dress up in Jody’s old clothes, and the two of them hide in her apartment together. One of Fergus’ old IRA associates, Jude, shows up and, in a whirlwind of confusion, shouting, and borderline psychosis, Dil shoots Jude multiple times. Fergus takes the blame, and in the final scene, we see Dil coming to visit him in prison. When The Crying Game first came out, moviegoers and reviewers alike were asked by the producers not to share what the “big surprise” with folks who had not yet seen the movie, using the hype around the moment as a marketing technique. This use of trans bodies as a punchline speaks to a broader issue in understanding and representation of trans people in media. Because this film made its debut more than two decades ago, it speaks both to the narratives around transness that have been let go, as well as to the themes and tropes that remain unchanged. Creator An entity primarily responsible for making the resource Jordan, Neil Publisher An entity responsible for making the resource available Woolley, Stephan Date A point or period of time associated with an event in the lifecycle of the resource 1992 Contributor An entity responsible for making contributions to the resource Izzy Lederman Format The file format, physical medium, or dimensions of the resource video Language A language of the resource English Type The nature or genre of the resource film Source A related resource from which the described resource is derived <br /><iframe width="560" height="315" src="https://www.youtube.com/embed/0Z-o1RVdnHE" frameborder="0" allowfullscreen="allowfullscreen"></iframe> race transfeminine transmisogyny war https://transcultural.oberlincollegelibrary.org/files/original/e0acb34a001974261029bc72b008452f.jpg 255158c39b22e8fabba76467cbc85dca Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Nancy Subject The topic of the resource LGBTQ+ community conversations Description An account of the resource Nancy is a seasonal, weekly podcast that started in April 2017 and is ongoing. It is co-hosted and co-managed/edited by Kathy Tu and Tobin Low, and is produced by Matt Collette. All three of these main production team members identify as queer, making this a podcast by and for the LGBTQ+ community. The podcast is currently in its second season of production, with its first season being a mixed bag of frank conversations about LGBTQ+ topics with people in the community. Its second season is focused upon the concept of “being out,” specifically in a work environment, but also in the context of family, friends, and the public. This podcast is mostly funded by donor support from listener membership. Nancy is produced by WNYC Studios, which boasts on its website the headline, “Reinventing audio for a new generation of listeners around the world.” Podcasts have revolutionized the way individuals engage with a variety of identities and experiences. Nancy is important to the LGBTQ+ community in that it broadcasts such a variety of personal narratives to inform and connect individuals in their daily struggles. With over a third of its episodes featuring interviews with trans individuals (several of whom are non-binary), Nancy is important specifically to the trans community. So often trans people are portrayed as deviants in terms of tropes that are set up by Westernized cisgender ideals of a binary gender construct, but this podcast serves to deconstruct these derogatory representations and add nuance to the interviewees’ experiences and lives. Other issues and frank conversations additionally tackled by this podcast include LGBTQ+ representation in the media; asexuality; race; disability; HIV/AIDS; coming out; LGBTQ+ history; policies, rights, and discrimination; butch identities; Harry Potter (and the “gay Dumbledore” debate); gay republicans; sex education; racism in queer communities; trauma; relationships; trans healthcare; performance; and more. Creator An entity primarily responsible for making the resource Low, Tobin (Co-Host, Co-Managing Editor) Tu, Kathy (Co-Host, Co-Managing Editor) Collette, Matt (Producer) Lawton, Jenny (Senior Editor) Bloom, Jeremy (Sound Designer) Publisher An entity responsible for making the resource available WNYC Studios Date A point or period of time associated with an event in the lifecycle of the resource 2017 - Contributor An entity responsible for making contributions to the resource Boughton, Peyton Format The file format, physical medium, or dimensions of the resource Audio Language A language of the resource English Type The nature or genre of the resource Podcast Source A related resource from which the described resource is derived <a href="http://www.wnyc.org/shows/nancy" target="_blank">Nancy Website</a>