ABSTRACT

Engaging with ideas of hegemonic masculinity, femininity, homosexuality, and heteronormativity, this article examines the film and television work of Joey Soloway as a means of studying the popularization of feminist and queer theory within contemporary American independent media. By focusing on representations of non-normative genders and sexualities (including sex work, transgender identity, and polyamory), I explore the ways in which Soloway pushes feminist and queer theory beyond the limits of the popular. Through overt references to feminist and queer filmmakers and theory, I argue that Soloway’s film and television work subverts traditional modes of storytelling. Examining Soloway’s first film Afternoon Delight and their two series for Amazon, Transparent (2014–2019) and I Love Dick (2016), as well as the coverage of Soloway’s work within the popular press (for example, The New York Times, Newsweek, Huffington Post, and Rolling Stone), this article also analyzes how Soloway’s own authorial persona and their public identification with queerness intertwines with the personal, the political, and the popular.

摘要

本文探讨了霸权男性气质、女性气质、同性恋和异性恋规范观念，以乔伊·索洛威的影视作品为研究对象，探讨女权主义和酷儿理论在当代美国独立媒体中的普及情况。通过关注非规范性别和性行为（包括性工作、变性身份和多元之爱）的表现，我探索了索洛韦如何将女权主义和酷儿理论推向大众的极限。通过公开提及女权主义和酷儿电影制片人和理论，我认为索洛韦的电影和电视作品颠覆了传统的讲故事模式。审视索洛韦的第一部电影《下午的喜悦》及其为亚马逊拍摄的两个系列《透明》（2014-2019）和《我爱迪克》（2016），以及大众媒体（例如《纽约时报》、《新闻周刊》、《赫芬顿邮报》和《滚石》）对索洛威作品的报道，本文还分析了索洛威自己的作者形象及其公众形象对酷儿的认同与个人、政治和大众交织在一起。