Introduction At First Sight: Definitions, Clarifications, and Assorted Prolegomen
Joe Morella and Edward Epstein, Judy: The Films and Career of Judy Garland,
ed. (New York: Citadel Pess, ).
The term open secret was coined by D. A. Miller, who uses it to refer to the para
doxical construction of homosexuality in modern cultures as a site of simulta
neous knowing and unknowing; a construction that functions, he suggests, as
central strategyof homophobic discipline. By relegating homosexual desires an
relations to the twilight status of an ‘‘open secret,’’ something known but un
spoken, mainstream culture can ‘‘construct a homosexuality held definitional
in suspense on no less than a question of its own existence’’ while ‘‘produc[ing
in the process homosexual subjects doubtful of the validity and even the realit
of their desire, which may only be, does not necessarily mean, and all the rest’’ (D. A
Miller, ‘‘Anal Rope,’’ in Inside/Out: Lesbian Theories, Gay Theories, ed. Diana Fu
[New York: Routledge, ], ).
Henry Jenkins, Textual Poachers: Television Fans and Participatory Culture (Ne
York: Routledge, ), –. See also the essays by Joli Jenson, John Fiske, an
Lawrence Grossberg in The Adoring Audience: Fan Culture and Popular Media, e
Lisa A. Lewis (London: Routledge, ).
The phrase belongs to Mary Ann Doane, who uses it to describe the status o
the femme fatale. (Femmes Fatales: Feminism, Film Theory, Psychoanalysis [Ne
York: Routledge, ], ).
Judith Mayne, ‘‘Discussion,’’ in How Do I Look? Queer Film and Video, ed. Ba
Object-Choices (Seattle: Bay Press, ), .
RaymondBellour,‘‘Alternation,Segmentation,Hypnosis,’’in Feminism and Fil
Theory, ed. Constance Penley (New York: Routledge, ), ; Laura Mulve
‘‘Afterthoughts,’’ in Visual and Other Pleasures (London: Macmillan, ),
Ellis Hanson, introduction to Out Takes: Essays on Queer Theory and Film, e
Ellis Hanson (Durham: Duke University Press, ), .
Vito Russo, The Celluloid Closet: Homosexuality in the Movies, rev. ed. (New Yor
Harper and Row, ), .