Notes
Introduction
1 Judith Mayne, Framed: Lesbians, Feminists, and Media Culture (Minneapolis:
University of Minnesota Press, 2000), xviii.
2 See Marcia Landy and Amy Villarejo, Queen Christina (London: BFI Publish-
ing, 1995).
3 Denise Riley, Am I That Name? Feminism and the Category of Woman in His-
tory (Minneapolis: University of Minnesota Press, 1988); and Judith Butler,
Gender Trouble (London: Routledge, 1989).
4 See Lisa Duggan, Sapphic Slashers: Sex, Violence and American Modernity
(Durham, N.C.: Duke University Press, 2000).
5 Eric Clarke examines the various routes through which commodification
functions to integrate excluded groups into ‘‘publicness’’ or ‘‘publicity,’’ in
his Virtuous Vice: Homoeroticism and the Public Sphere (Durham, N.C.: Duke
University Press, 2000).
6 For a more extended discussion of my sense of Foucault’s History of Sexu-
ality project and its importance for queer theory, see my ‘‘Queer Film and
Performance, In Theory,’’ GLQ 7, 2 (2001): 313–33.
7 Biddy Martin, ‘‘Sexualities Without Genders and Other Queer Utopias,’’ in
her collection, Femininity Played Straight: The Significance of Being Lesbian
(London: Routledge, 1996), 93.
8 Peggy Phelan, ‘‘Dying Man with a Movie Camera. Silverlake Life: The View
From Here,’’ GLQ: A Journal of Lesbian and Gay Studies 2, 4 (1995): 390–91.
9 Here it may be useful to distinguish between my project and that of an-
other writer interested in lesbian identities through a Marxist grid: Rose-
mary Hennessey’s Profit and Pleasure: Sexual Identities in Late Capitalism
(New York: Routledge, 2001). Hennessey is impatient with the extent to
which queer theory influenced by poststructuralism deploys a diminished
understanding of sociality, and of capitalist exploitation more particularly.
As corrective, she wants to develop a critical practice of ‘‘making visible,’’ of
rendering clearly the relationships between contemporary lesbianisms, their
cultural products, and the reality of the social structures ‘‘they are shaped by
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