Introduction: On Our Backs, in Our Attics,
on Our Minds
1 "Gals and Dolls" (photo-essay),
On Our Backs,
MarchI April 1989, 32-34. The credit line
states, "Photos and models: Evans, Brill, Smith."
2
In
contrast, many lesbian publications are explicitly designated for lesbians only.
3 Joseph Fairchild Beam, "Making Ourselves from Scratch," in
Brother to Brother: New Writ-
ings
by
Black Gay Men,
ed. Essex Hemphill (Boston: Alyson, 1991), 261-62.
4 For a good critique of the "rebel" image that now circulates in the media, see Paul Rudnick,
"Can a Rebel Have a Housekeeper and a Car Phone?" Spy, March 1992, 52-58.
5 Hayley Spicer quoted in "The World According to Mr Punch,"
Punch,
12 February 1991, 5.
6 lain Chambers,
Popular Culture: The Metropolitan EXPerience,
Studies in Communication
(London: Methuen, 1986), 43.
7 These decisions, and, of course, all the material that follows, have also been informed by
the work of many writers in the intersecting areas of cultural, feminist, and gay Ilesbianl
queer studies, whose studies, particularly of audience, subculture, hegemony, and resis-
tance, I brought to my encounter with Hannah as well as other Barbie material. Although I
do not undertake here an extensive review of previous scholarship in these areas, my debt
to it is enormous, too much so to be articulated through a short list of texts and authors.
Such a list, however, would include, besides the texts cited in later notes, the following:
Louis Althusser, "Ideology and Ideological State Apparatuses," in
Lenin and Philosophy
and Other Essays,
trans. B. Brewster (New York: Random House, 1971); Pierre Bordieu,
The Love of Art: European Museums and Their Public,
trans. C. Beattie and N. Merriman
(Cambridge: Polity Press, 1990), and
The Field of Cultural Production: Essays on Art and
Literature,
ed. Randal Johnson (New York: Columbia University Press, 1993); Michel de
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