Introduction 1
Introduction 1
Background to the Trans New Wave emerging 3
The relationship of the Trans New Wave to earlier cinematic waves 8
Historical overview of key films pre-2008 with transsexual
and transgender characters, themes and narratives 12
Characteristics of the Trans New Wave 14
Representational work of trans woman actors in
independent films and streaming video 17
Overview of methodologies and the interdisciplinary approach 21
Thinking across boundaries 23
2 Transliteracy 34
Foundations of Transliteracy 34
Understanding the cultural contexts for independent trans cinema 38
Transliteracy and textual exegesis 43
Epistemological cinema 44
Ontological cinema 48
3 Key Texts of the Trans New Wave 62
Overview 62
Fictional, narrative short, animation, drama 65
Factual, documentary films, docu-drama 68
Uplifting lives: Black Trans Lives Matter 69
Use of life cycle narratives as a representational structure for documentary: three representations of transmasculinity (selected case study text Trans Boys) 77
Experimental & performance art films 82
Music on screen 84
Use of genres: road trip, science fiction, horror (selected case study text The Thing) 86
The 'real' and 'reality' 90
Use of the road movie genre as a representational metaphor for transitioning 94
Recurrent themes & tropes 97
4 First Nations and Indigenous Trans Cinema 111
First Nations and Indigenous trans cinema 111
Transliterate approaches to reading films from non-western and First Nations filmmakers 111
Two Spirit and Third Gender cinema 117
5 Gender-Diverse Youth Narratives 132
The significance of the emerging body of cinematic narratives focused upon transgender youth 132
Screen families Tomgirl (Jeremy Asher Lynch, USA, 2015)
and Raising Ryland (Sarah Feeley, USA, 2015) 133
Temporal considerations 140
The role of education 141
6 Cinematic Ethnogenesis 148
Birth of a new cinema 149
Countercultures: screening independent trans cinema 152
Overview of key international independent queer and transgender film festivals 155
The reciprocal interaction of audiences and texts 158
How classifications (ratings) systems may impact independent filmmakers and film festivals: overview of differences between the Australian, United Kingdom and American Systems 160
Non-hegemonic cinema-whose community decides who sees the film? 173
Trans new wave as reparative cinema 175
7 Cinematic Futures 190
Developing a canon of representation of gender diversity and sexualities 190
Sexing the Transman (Buck Angel, USA, 2011) 192
Trans Boys (Ali Russell and Monique Schafter, Aus., 2012)
Dex's story 196
Community Action Centre (A. K. Burns, A. L. Steiner, USA, 2010) 198
Cinema on demand 201
The democratisation of distribution 202
