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This book is a historiographic exploration of the first wave of films made as a part of the consolidation of gay liberation movement politics and philosophy in the U.S. between the mid 1940s and the late 1970s. It looks at how numerous kinds of film, movie-going contexts and industrial materials (advertisements, posters, reviews) operated in relation to gay liberationist discourse. A primary consideration is how this body of 200+ films—including home movies, avant-garde and experimental films, feature length independent dramas, and hardcore porn—moved beyond representational concerns to offer complex elaborations of what it might mean to be a participant in gay life. The book weaves together an expansive range of archival materials and case studies, exploring how proto gay and gay liberation era cinema took form through discourses both dominant and countercultural, how specific places and moments fostered censorship-challenging, antinormative cinema and cinema-going practices, and how gay cinema facilitated new and emergent publics. Through four chapters, the book charts changes in film and promotion as the sociopolitical organization of male-desiring men moved from a discourse of homosexuality to one of gay liberation, showing how both were taken up as self-reflexive zones of cultural production and performance.

From the late 1970s to the mid-1990s, black gay men produced a rich and diverse body of cultural work—poetry, fiction, literary journals and anthologies, magazines, newspapers, performance and visual art—to narrate their experiences with and everyday struggles against racism, homophobia, capitalism, and HIV/AIDS. This book discusses this cultural renaissance, and focuses on activities in Washington, D.C., and New York City. Drawing on literary analysis, archival materials, oral histories, and interviews, the book demonstrates how black gay men used these literary and cultural forms to address trauma and violence in their communities, build connections among black gay men, engage in political mobilization, and assert more complex narratives of racial, gender, and sexual selfhood. Individual chapters focus on the magazine Blacklight and the performance group Cinque; the works of Essex Hemphill and Joseph Beam; the history and cultural production of writers’ group, Other Countries Collective; and the diaries of poet, novelist, translator, and scholar Melvin Dixon.

This book explores the worship and community central to the Fellowship of Affirming Ministries (TFAM), a coalition of predominantly African American, LGBT congregations with a Pentecostal style of worship. TFAM's central doctrine is "radical inclusivity," a commitment to embrace all those who might have been rejected or marginalized by mainstream black churches, but which has been expanded to include all persons regardless of race, sexuality, or religious background. The book looks closely at how TFAM worship is legitimated through the use of historical insignia of black culture, how it challenges traditional concepts of charismatic leadership, and how it elaborates ideas about authenticity.

This book is centered on a surprisingly simple image: a newborn baby simultaneously crying out and drawing its first breath. These twin ideas—absorption and expulsion, the intake of physical and emotional nourishment, and the exhalation of breath—form the backbone of this book. These titular bodies range from fetuses in utero to fully eroticized adults, all the way to celestial giants floating in space. The author illustrates his exploration of the body's capacities to receive and resist what is ostensibly alien using a typically eclectic set of sources, from literary icons like Marquis de Sade to cinematic provocateurs such as Bruno Dumont and Lars von Trier. This book will be of interest to scholars of Freud, Foucault, and film studies, or anyone who has ever stopped to ponder the give and take of human corporeality.