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Why did this shift take place? Was it political gains, cultural momentum, or market forces that energized the evolution and transformation of this cinematic genre?\u003c\/p\u003e \u003cp\u003e\u003ci\u003eNew Queer Cinema: A Critical Reader\u003c\/i\u003e provides a definitive and highly readable guide to the development of this important and controversial film movement. The volume is divided into four sections: defining \"new queer cinema,\" assessing its filmmakers, examining geographic and national differences, and theorizing spectatorship. Chapters address the work of pivotal directors (such as Todd Haynes and Gregg Araki) and salient films (including \u003ci\u003eParis is Burning\u003c\/i\u003e and \u003ci\u003eBoys Don't Cry\u003c\/i\u003e), as well as unconventional and non-Anglo-American work (experimental filmmaking and third world cinema).\u003c\/p\u003e \u003cp\u003eWith a critical eye to its uneasy relationship to the mainstream, \u003ci\u003eNew Queer Cinema\u003c\/i\u003e explores the aesthetic, sociocultural, political, and, necessarily, commercial investments of the movement. 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Transgressive interpretations of conventional imagery merge with critical considerations of subcultural forms. The topics discussed include male erotic objectification; narcissistic masculinity; male to female transvestism; cyborgs and female desire; body piercing; 'demonic' children in film; queer cinema; vampires in women's fiction;  the cannibal film; cyborgs and necrophiliac desire; AIDS and reincarnation films. The films discussed include Videodrome, Dead Ringers, M. 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