Foreword / John Greyson  

Acknowledgments  

Introduction  

Films by Gays for Gays: A Very Natural Thing, Word Is Out, and The Naked Civil Servant (1977)   

Gays, Straights, Film, and the Left: A Dialogue (with Chuck Kleinhans) (1977)   

Rainer Werner Fassbinder (197677)   

A Fag-Spotters Guide to Eisenstein (1977)   

Derek Jarmans Sebastiane (1978)   

Medical Thrillers: Born a Man . . . Let Me Die a Woman (197879)  

Murnau: The Films Behind the Man (1979)   

An Unromantic Fiction: Im Not from Here, by Harvey Marks (1979)  

The Gay Nineties, the Gay Seventies: Samperis Ernesto and von Praunheims Army Of Lovers or Revolt of the Perverts (1979)   

Montgomery Clift Biographies: Stars and Sex (197980)   

Gay Cinema, Slick vs. Real: Chant damour, Army of Lovers, We Were One Man (1980)   

Nighthawks, by Ron Peck and Paul Hallam (1980)  

A Saturday Night Surprise: Burin des Roziers Blue Jeans (1980) Caligula (1980)   

Taxis and Toilets: Ripploh and His Brothers (1981)   

Bright Lights in the Night: Pasolini, Schroeter, and Others (1981)   

Patty Duke and Tasteful Dykes (1982)   

Two Strong Entries, One Dramatic Exit: Luc ou la part des choses, Another Way, and Querelle (1982)  

Hollywoods Change of Heart? (Porkys and The Road Warrior) (1982)   

Dreams, Cruises, and Cuddles in Tel Aviv: Amos Gutmans Nagua (1983)   

Hauling an Old Corpse Out of Hitchcocks Trunk: Rope (1983)  

Sex Beyond Neon: Third World Gay Films? (1985)   

Fassbinder Fiction: A New Biography (1986)   

Ashes and Diamonds in the Year of the Queer: Decline of the American Empire, Anne Trister, A Virus Knows No Morals, and Man of Ashes (1986)  

The Kiss of the Maricon, or Gay Imagery in Latin American Cinema (198687)   

Laws of Desire: Maurice, Law of Desire, and Vera (1987)  

Two Great Gay Filmmakers: Hello and Good-bye (1988)   

Beauty and the Beast, Take Two (1988)   

Whipping Up a Cinema (1989)  

Erotic Self-Images in the Gay Male AIDS Melodrama (1988, 1992)   

In Memoriam: Vito Russo, 19461990 (1991)   

Were Talking, Vulva, or, My Body Is Not a Metaphor (1995, 1999)   

Walking on Tippy Toes: Lesbian and Gay Liberation Documentary of the   

Post-Stonewall Period 19691984 (199597)   

Archeology and Censorship (1997)   

Bibliography: Selected Additional Works  

Index  

John Greyson

“Witty, ironic, and always passionate. . . . [A]n inspiration to countless would-be gay film journalists and an invaluable study source for queer film buffs.”—Gay Times

“[O]ffers an interesting non-American perspective on gay films of the last two decades. . . . The film student . . . will find this book essential.”—Community News (Salem, OR)

“[Waugh’s] project—as it has been throughout his publications—is expansive, appealing, coalition building, and unabashedly specific as much as it is searingly witty, Maoist in its self-critical urges, and intellectually alive to change.”—Amy Villarejo, GLQ

“[A] slice-of-life piece of history with a Canadian perspective.”—Barry Ralph, Revue Francaise d’Economie

"In a period of just over two decades Thomas Waugh has established himself as a respected public intellectual whose important work as an activist, critic, educator, and historian brings together theory and practice in innovative and enlightening ways. The Fruit Machine features a wide spectrum of work culled from material written for academic conferences, scholarly journals, and popular magazines. Collectively, these writings reflect the author’s impressive scope of expertise and experience, and illustrate the dramatic shifts in the political environment and in media criticism over the past twenty years. . . . [A]n engrossing self-portrait . . . . Waugh’s writings form a cohesive and coherent work that is theoretically informed, politically charged, and eminently readable. His brilliantly argued and thoughtfully-written critiques represent a high point in intellectual writing; they illustrate beyond a shadow of a doubt that film and cultural criticism can be informative, provocative, and above all, accessible–and even entertaining."

—Robert Cagle, Canadian Journal of Film Studies

“Witty, ironic, and always passionate. . . . [A]n inspiration to countless would-be gay film journalists and an invaluable study source for queer film buffs.”—Gay Times

“[O]ffers an interesting non-American perspective on gay films of the last two decades. . . . The film student . . . will find this book essential.”—Community News (Salem, OR)

“[Waugh’s] project—as it has been throughout his publications—is expansive, appealing, coalition building, and unabashedly specific as much as it is searingly witty, Maoist in its self-critical urges, and intellectually alive to change.”—Amy Villarejo, GLQ

“[A] slice-of-life piece of history with a Canadian perspective.”—Barry Ralph, Revue Francaise d’Economie

"In a period of just over two decades Thomas Waugh has established himself as a respected public intellectual whose important work as an activist, critic, educator, and historian brings together theory and practice in innovative and enlightening ways. The Fruit Machine features a wide spectrum of work culled from material written for academic conferences, scholarly journals, and popular magazines. Collectively, these writings reflect the author’s impressive scope of expertise and experience, and illustrate the dramatic shifts in the political environment and in media criticism over the past twenty years. . . . [A]n engrossing self-portrait . . . . Waugh’s writings form a cohesive and coherent work that is theoretically informed, politically charged, and eminently readable. His brilliantly argued and thoughtfully-written critiques represent a high point in intellectual writing; they illustrate beyond a shadow of a doubt that film and cultural criticism can be informative, provocative, and above all, accessible–and even entertaining."

—Robert Cagle, Canadian Journal of Film Studies

“This is an enthralling book about a topic at once life-affectingly important and extraordinarily complex: how gay people—or anyone else—are seen and see themselves and how the movies help shape that. Tom Waugh shows us in exemplary fashion that you can combine personal passion and political engagement with the highest standards of intellectual discipline, while taking us on a delicious trip through the vagaries of queer film images.”—Richard Dyer, University of Warwick

“Tom Waugh was thinking queerly about the movies for decades before the New Queer Cinema was a market niche, but without his careful thinking and charming interventions, it’s hard to imagine the present cultural moment. Back when being gay was anything but fashionable, Waugh taught and fought, proselytized and organized, so that queer films and queer audiences would be taken seriously.”—B. Ruby Rich, author of Chick Flicks: Theories and Memories of the Feminist Film Movement

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