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How girls of color from eight global communities strategize on questions of identity, social issues, and political policy through spoken word poetry.

Around the world, girls know how to perform. Grounded in her experience of “putting a mic in the margins” by facilitating workshops for girls in Ethiopia, South Africa, Tanzania, and the United States, scholar/advocate/artist Crystal Leigh Endsley highlights how girls use spoken word poetry to narrate their experiences, dreams, and strategies for surviving and thriving. By centering the process of creating and performing spoken word poetry, this book examines how girls forecast what is possible for their collective lives.

In this book, Endsley combines poetry, discourse analysis, photovoice, and more to forge the feminist theory of “quantum justice,” which forefronts girls’ relationships with their global counterparts. Using quantum justice theory, Endsley examines how these collaborative efforts produce powerful networks and ultimately map trajectories of social change at the micro level. By inviting transnational dialogue through spoken word poetry, Quantum Justice emphasizes how the imaginative energy in hip-hop culture can mobilize girls to connect and motivate each other through spoken word performance and thereby disrupt the status quo.

An exploration of how nonlinear storytelling opens a post-Newtonian reality and changes both the hero’s journey and how we understand history in film and television.

Begin at the beginning and keep going until the end. That’s the cardinal rule of conventional storytelling. But ever since the modernists of the early twentieth century, popular narratives have occasionally eschewed this linear approach to temporality. It’s as though our stories, formerly unfolding in the stable, predictable universe of Newtonian physics, can now take place in multidimensional time where anything and anyone can be as incalculable as Schrödinger’s cat.

Quantum Screens is a journey through the past and present of nonlinear time in film and television. Moving beyond the early experiments of Luis Buñuel and the first nonlinear commercial films, such as 2001: A Space Odyssey, Martha Nochimson shows how risk-taking auteurs David Lynch, Damon Lindelof, and Terrence Malik have opened new horizons and a new concept of beauty in storytelling through their revelatory creations. Quantum Screens takes us deep into the audience’s experience of nonlinearity, exploring the emotional dislocations such storytelling creates, using television programs such as Twin Peaks, Westworld, and Watchmen, and films including The Tree of Life, BlacKkKlansman, and Arrival. Indeed, viewers are at the heart of a changing aesthetics of nonlinearity, Nochimson argues. Amid innovations like on-demand viewing, unlimited replay, and binge-watching, the experience of real time is more malleable than ever, and creators are responding by structuring their stories in compelling new ways.

One of the twentieth century’s most important filmmakers—indeed one of its most important and influential artists—Ingmar Bergman and his films have been examined from almost every possible perspective, including their remarkable portrayals of women and their searing dramatizations of gender dynamics. Curiously however, especially considering the Swedish filmmaker’s numerous and intriguing comments on the subject, no study has focused on the undeniably queer characteristics present throughout this nominally straight auteur’s body of work; indeed, they have barely been noted.

Queer Bergman makes a bold and convincing argument that Ingmar Bergman’s work can best be thought of as profoundly queer in nature. Using persuasive historical evidence, including Bergman’s own on-the-record (though stubbornly ignored) remarks alluding to his own homosexual identifications, as well as the discourse of queer theory, Daniel Humphrey brings into focus the director’s radical denunciation of heteronormative values, his savage and darkly humorous deconstructions of gender roles, and his work’s trenchant, if also deeply conflicted, attacks on homophobically constructed forms of patriarchic authority. Adding an important chapter to the current discourse on GLBT/queer historiography, Humphrey also explores the unaddressed historical connections between post–World War II American queer culture and a concurrently vibrant European art cinema, proving that particular interrelationship to be as profound as the better documented associations between gay men and Hollywood musicals, queer spectators and the horror film, lesbians and gothic fiction, and others.

The seven Indigenous directions—east, south, west, north, down, up, and center—provide a map of understanding gender in media history.

In Queer Indigenous Cinemas, scholar Gabriel S. Estrada offers an analysis of queer Indigenous media from the Americas, the Pacific, and the Caribbean. This groundbreaking work uses Indigenous directional space and sovereign mapping methods to uncover the emotional, spiritual, and cultural dimensions of queer Indigenous lives. The book’s seven chapters—each one of the directions—look closely at media such as cinema and streaming videos that draw on Indigenous concepts from diverse nations such as Diné, Caxcan, Kanaka Maoli, and Nehiyawak. Estrada discusses how the cinema brings into focus the ways that many Indigenous genders do not conform with the male/female binary, genders and sexualities that may or may not overlap with contemporary constructions of gay, lesbian, bisexual, transgender, intersex, and two-spirit (LGBTQI2+) identities.

Highlighting the struggles and resistances of two-spirit peoples, Estrada’s analysis engages with films that represent the diverse and sovereign identities of queer Indigenous peoples. Estrada provides a framework for understanding how queer Indigenous media producers confront colonial trauma and reclaims space for the spiritual and bodily sovereignty of LGBTQI2+ peoples.

Viewing contemporary Latin American films through the lens of queer studies reveals that many filmmakers are exploring issues of gender identity and sexual difference, as well as the homophobia that attempts to defeat any challenge to the heterosexual norms of patriarchal culture. In this study of queer issues in Latin American cinema, David William Foster offers highly perceptive queer readings of fourteen key films to demonstrate how these cultural products promote the principles of an antiheterosexist stance while they simultaneously disclose how homophobia enforces the norms of heterosexuality.

Foster examines each film in terms of the ideology of its narrative discourse, whether homoerotic desire or a critique of patriarchal heterosexism and its implications for Latin American social life and human rights. His analyses underscore the difficulties involved in constructing a coherent and convincing treatment of the complex issues involved in critiquing the patriarchy from perspectives associated with queer studies. The book will be essential reading for everyone working in queer studies and film studies.

The films discussed in this book are:

• De eso no se habla (I Don't Want to Talk about It)
• El lugar sin límites (The Place without Limits)
• Aqueles dois (Those Two)
• Convivencia (Living Together)
• Conducta impropia (Improper Conduct)
• The Disappearance of García Lorca
• La Virgen de los Sicarios (Our Lady of the Assassins)
• Doña Herlinda y su hijo (Doña Herlinda and Her Son)
• No se lo digas a nadie (Don't Tell Anyone)
• En el paraíso no existe el dolor (There Is No Suffering in Paradise)
• A intrusa (The Interloper)
• Plata quemada (Burnt Money)
• Afrodita (Aphrodite)
• Fresa y chocolate (Strawberry and Chocolate)

The mass shooting at a queer Latin Night in Orlando in July 2016 sparked a public conversation about access to pleasure and selfhood within conditions of colonization, violence, and negation. Queer Nightlife joins this conversation by centering queer and trans people of color who apprehend the risky medium of the night to explore, know, and stage their bodies, genders, and sexualities in the face of systemic and social negation. The book focuses on house parties, nightclubs, and bars that offer improvisatory conditions and possibilities for “stranger intimacies,” and that privilege music, dance, and sexual/gender expressions. Queer Nightlife extends the breadth of research on “everynight life” through twenty-five essays and interviews by leading scholars and artists. The book’s four sections move temporally from preparing for the night (how do DJs source their sounds, what does it take to travel there, who promotes nightlife, what do people wear?); to the socialities of nightclubs (how are social dance practices introduced and taught, how is the price for sex negotiated, what styles do people adopt to feel and present as desirable?); to the staging and spectacle of the night (how do drag artists confound and celebrate gender, how are spaces designed to create the sensation of spectacularity, whose bodies become a spectacle already?); and finally, how the night continues beyond the club and after sunrise (what kinds of intimacies and gestures remain, how do we go back to the club after Orlando?).

2026 Dance Studies Association de la Torre Bueno First Book Award Shortlist Finalist

In 2015, Mexico City declared itself a “gay-friendly” city and followed up with a gay tourist guide and new laws permitting changes to gender markers on legal documents, sanctioning same-sex marriage, and allowing joint adoption of children. At the same time, patterns of violence and discrimination against women, trans, and queer people have continued throughout the country. In Queer Relajo, David Tenorio argues that while Mexico City aims to bring visibility to queer sociality, the benefits of legitimizing queer space remain unclear. 

Combining readings of film, digital media, and performance with drag autoethnography, Queer Relajo quite literally plays with how relajo (or playfulness) structures the spaces of queer nightlife in urban contexts by revealing how nighttime intimacy can minimize the paralyzing effects of violence and precarity in a neoliberal Mexico. Considering the political implications of when a queer/trans person is present at night, Tenorio argues that queer feelings of play are not only essential to sexual liberation, but also resist neoliberal commodification and heteronormative extraction. 

John Leo and Dana Heller Award for Best Single Work, Anthology, Multi-Authored or Edited Book in LGBTQ Studies, Popular Culture Association (PCA), 2020

In Queer Timing, Susan Potter offers a counter-history that reorients accepted views of lesbian representation and spectatorship in early cinema. Potter sees the emergence of lesbian figures as only the most visible but belated outcome of multiple sexuality effects. Early cinema reconfigured older erotic modalities, articulated new--though incoherent--sexual categories, and generated novel forms of queer feeling and affiliation.

Potter draws on queer theory, silent film historiography, feminist film analysis, and archival research to provide an original and innovative analysis. Taking a conceptually oriented approach, she articulates the processes of filmic representation and spectatorship that reshaped, marginalized, or suppressed women's same-sex desires and identities. As she pursues a sense of "timing," Potter stages scenes of the erotic and intellectual encounters shared by historical spectators, on-screen figures, and present-day scholars. The result is a daring revision of feminist and queer perspectives that foregrounds the centrality of women's same-sex desire to cinematic discourses of both homo- and heterosexuality.

The most comprehensive account available of filmmaking in Africa today

Diverse in their art, paradoxically more celebrated abroad than they are at home, African filmmakers eke out their visions against a backdrop of complex historical, social, economic, and political practices. The richness of their accomplishments emerges with compelling clarity in this book, in which African filmmakers speak candidly about their work.