LEADER 03612nam 2200673 a 450 001 9910845067403321 005 20200520144314.0 010 $a0-8147-9059-3 024 7 $a10.18574/9780814790595 035 $a(CKB)2670000000325522 035 $a(EBL)1114593 035 $a(OCoLC)827209087 035 $a(SSID)ssj0000832334 035 $a(PQKBManifestationID)11442991 035 $a(PQKBTitleCode)TC0000832334 035 $a(PQKBWorkID)10881754 035 $a(PQKB)10808383 035 $a(StDuBDS)EDZ0001326262 035 $a(MiAaPQ)EBC1114593 035 $a(OCoLC)825753507 035 $a(MdBmJHUP)muse25674 035 $a(DE-B1597)548628 035 $a(DE-B1597)9780814790595 035 $a(EXLCZ)992670000000325522 100 $a20120823d2013 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aLove and money $equeers, class, and cultural production /$fLisa Henderson 210 $aNew York $cNew York University Press$d2013 215 $a1 online resource (214 p.) 225 0$aCritical cultural communication 300 $aDescription based upon print version of record. 311 $a0-8147-9058-5 311 $a0-8147-9057-7 320 $aIncludes bibliographical references and index. 320 $aIncludes filmography. 327 $aThe class character of boys don't cry -- Queer visibility and social class -- Every queer thing we know -- Recognition : queers, class, and Dorothy Allison -- Queer relay -- Plausible optimism -- Conclusion : a cultural politics of love and solidarity. 330 $aLove and Money argues that we can?t understand contemporary queer cultures without looking through the lens of social class. Resisting old divisions between culture and economy, identity and privilege, left and queer, recognition and redistribution, Love and Money offers supple approaches to capturing class experience and class form in and around queerness.Contrary to familiar dismissals, not every queer television or movie character is like Will Truman on Will and Grace?rich, white, healthy, professional, detached from politics, community, and sex. Through ethnographic encounters with readers and cultural producers and such texts as Boys Don?t Cry, Brokeback Mountain, By Hook or By Crook, and wedding announcements in the New York Times, Love and Money sees both queerness and class across a range of idioms and practices in everyday life. How, it asks, do readers of Dorothy Allison?s novels use her work to find a queer class voice? How do gender and race broker queer class fantasy? How do independent filmmakers cross back and forth between industry and queer sectors, changing both places as they go and challenging queer ideas about bad commerce and bad taste?With an eye to the nuances and harms of class difference in queerness and a wish to use culture to forge queer and class affinities, Love and Money returns class and its politics to the study of queer life. 410 0$aCritical cultural communication. 606 $aGays$xSocial conditions 606 $aHomosexuality$xSocial aspects 606 $aSocial classes 606 $aGays in mass media 615 0$aGays$xSocial conditions. 615 0$aHomosexuality$xSocial aspects. 615 0$aSocial classes. 615 0$aGays in mass media. 676 $a306.76/6 700 $aHenderson$b Lisa$01725335 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910845067403321 996 $aLove and Money$94128266 997 $aUNINA