LGBT Film Bibliography...

For the academics...

This is an ever-evolving bibliography...gleaned from the world-wide-web.

Please, feel free to e-mail us with new additions and/or suggestions.

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• Aaron, Michele.New Queer Cinema: A Critical Reader. New Jersey: Rutgers University Press, 2004.
• Andersen, Joceline (2012). “From the Ground Up: Transforming the Inside Out LGBT Film and Video Festival of Toronto.” Canadian Journal of Film Studies | Revue Canadienne d’Études Cinématographiques 21:1 (2012): 38-57.
• Bak, John S. 'Suddenly Last Supper: Religious Acts and Race Relations - Tennessee Williams's 'Desire',Journal of Religion and Theatre, Vol. 4, No. 2, Fall 2005
• Bannister, 'Charles Hawtrey, Kenneth Williams, and Susan Sontag: Campaigners of Camp and theCarry On films', Forum, Issue 4, Spring 2007
• Bao, Hongwei (2010). “Enlightenment Space, Affective Space: Travelling Queer Film Festivals in China.” Gender, Mobility and Citizenship in Asia.  Mikako Iwatake. Helsinki: Department of World Cultures, University of Helsinki. pp. 174-205.
• Bao, Hongwei (2010). “In Search of Lesbian Continuum: Lesbian Public Space through ‘Women 50 Minutes’.” New Perspectives from Japan and China. Ed. Mikako Iwatake. Helsinki: Department of World Cultures, University of Helsinki. pp. 136–164.
• Bartone, Richard C. ‘Film Actors: Gay Male’, GLBTQ: An Encyclopedia of Gay, Lesbian, Bisexual, Transgender, and Queer Culture, 2002
• Becker, Edith (1992). “The New York Lesbian and Gay Experimental Film Festival.” Jump Cut: A Review of Contemporary Media 37. <http://www.ejumpcut.org/archive/onlinessays/JC37folder/NYexptlGayLesFest.html>. (7 Dec. 2008)
• Ben-Asher, ‘Screening Historical Sexualities: A Roundtable on Sodomy, South Africa, and Proteus’,Pace Law Faculty Publications, 2005. Paper 589
• Benshoff, Harry M. 'Notes on Gay History/Queer Theory/Gay Film'
• Benshoff, ‘[Review] of Flaming Classics: Queering the Film Canon by Alexander Doty’, Scope, August 2001
• Berry, Chris (1999). “Bangkok’s Alternative Love Film Festival Raided: Chris Berry interviews Sopawan Boonimitra.” Intersections: Gender, History and Culture in the Asian Context2 (1999). <http://intersections.anu.edu.au/issue2/Sidebar.html>. (23 Nov. 2008)
• Berry, Chris (1999). “My Queer Korea: Identity, Space, and the 1998 Seoul Queer Film & Video Festival.” Intersections: Gender, History and Culture in the Asian Context2 (1999). <http://intersections.anu.edu.au/issue2/Berry.html>. (23 Nov. 2008)
• Berry, 'East Palace, West Palace: Staging Gay Life in China', fromJump Cut, no. 42, December 1998, pp. 84-89
• Bessa, Karla (2007). “Os festivais GLBT de cinema e as mudanças estético-políticas na constituição da subjetividade. [GLBT film festivals and the aesthetic-political changes in the constitution of subjectivity].” Cadernos Pagu 28 (2007): 257–283. <http://dx.doi.org/10.1590/S0104-83332007000100012> . (10. Oct. 2012)
• Bocchi,Pier Maria. Mondo Queer. Cinema e militanza gay, Lindau, Torino, 2005, ISBN 88-71-80-548-8.
• Bond, ‘Homosexuality and the Italian Spaghetti Western’, Offscreen, November 30, 2007
• Borreye, Orla Juliette. 'The Significance Of The Queer And The Dog In Alejandro González Iñárritu’sAmores Perros(2000): A Masculinity At War', Wide Screen Journal, V 1, No. 1, 2009
• Brasell, Bruce. 'The Making of "Monsters": The Queer as Producer',from Jump Cut, no. 40, March 1996, pp. 47-54
• Brennan, Patrick S. 'Cutting through Narcissism: Queer Visibility inScorpio Rising', Genders 36, 2002
• Bristow, Joseph:Sexuality (1997) ISBN 0-415-08494-6
• Bronski, 'From The Celluloid Closet toBrokeback Mountain: The Changing Nature of Queer Film Criticism', Cineaste, 2008
• Brook, Vincent and Allan Campbell, ‘“Pansies don’t float”– gay representability, film noir, and The Man Who Wasn’t There’, Jump Cut, 46, Summer 2003
• Brooke, Kaucyila (1998). “Dividers and Doorways: How to (De)Personalize Your Lifestyle with Architectural Details.” Jump Cut: A Review of Contemporary Media 42 (1998): 50–57. <http://www.ejumpcut.org/archive/onlinessays/JC42folder/DividersDoorways.html> (7 Dec. 2008)
• Brooke, ‘Dividers and Doorways [on the locational politics of Los Angeles’s Gay and Lesbian film festival]’, Jump Cut, no. 42, December 1998, pp. 50-57
• Brownlee, ‘Masculinity Between Animation and Live Action, or, SpongeBob v. Hasselhoff’, Animation Studies Online Journal, Vol. 6, September 2011
• Bruzzi, 'The Talented Mr Ripley',EnterText 1.2, Spring 2001
• Bryson, 'Todd Haynes'sPoison and Queer Cinema', Invisible Culture - An Electronic Journal for Visual Culture Issue 1, Winter 1999
• Burdette, 'Queer Film Theory - Bibliography'
• Cante, Richard C. (March 2009).Gay Men and the Forms of Contemporary US Culture. London: Ashgate Publishing. ISBN 0-7546-7230-1.
• Cascais, António Fernando, and João Ferreira, eds. (2014). Cinema e Cultura Queer | Queer Film and Culture: Queer Lisboa – Festival Internacional de Cinema Queer | International Queer Film Festival. Lisboa.
• Chouinard, 'Queering the Québécois and Canadian Child in Jean-Claude Lauzon’sLéolo', Synoptique13, February 2009
• Chow, 'The Double Standard: The Twins of Two-Faced Woman and Sylvia Scarlett,'Bright Lights Film Journal, Issue 59, February 2008
• Clarke, Eric O. (1999). “Queer Publicity at the Limits of Inclusion.” [Queer Publicity: A Dossier on Lesbian and Gay Film Festivals]. GLQ: A Journal of Lesbian and Gay Studies5:1 (1999): 84–89.
• Cook, Phillip B. ‘Gay Sundance 2013: The Year Ahead in Independent Queer Cinema’, The Blog, Huff Post Gay Voices, January 17, 2013
• Crémieux, Anne (2013). “Massimadi, festival des films LGBT de l’Afrique et de ses diasporas: Entretien d’Anne Crémieux avec l’équipe de Massimadi.” Homosexualités en Afrique. Spec. Issue of Africultures Ed. Anne Crémieux. Paris: L’Harmattan. pp. 146–155.
• Crimp, 'Getting the Warhol we Deserve: Cultural Studies and Queer Culture',Invisible Culture: An Electronic Journal for Visual Studies, 1999
• Cui, Zi’en (2010). “The Communist International of Queer Film.” Transl. Petrus Liu.Positions: East Asia Cultures Critique 18:2 (2010): 417–423.
• Cunningham, Daniel Mudie. 'Driving into the 'Dustless Highway' of Queer Cinema',Film Journal, 2002
• Curnette, 'Child's Play: The Pixelvision Videos of Sadie Benning',The Film Journal, Issue 4
• Damiens, Antoine (2015). “Queer Cannes: On the Development of LGBTQ Awards at A-List Festivals.” A Festival Report. Synoptique 3:2 (2015): 93–100. <http://synoptique.hybrid.concordia.ca/index.php/main/article/view/65>. (12 Mar. 2015)
• de Villiers, '”The vanguard - and the most articulate audience”: Queer Camp, Jack Smith and John Waters',Forum, Issue 4, Spring 2007
• de Villiers, 'Glancing, Cruising, Staring: Queer Ways of Looking',Bright Lights Film Journal, Issue 57, August 2007
• del Rio, 'Performing the Narrative of Seduction: Claire Denis'sBeau Travail', Kinoeye, Vol. 3, Issue 7, Spring 2003
• Dias, Belidson & Susan Sinkinson, 'Film spectatorship between queer theory and feminism: Transcultural readings', Paper for InSEA on Bridge - 7 European Regional Congress 1st - 6th July 2004 Istanbul - Cappadocia
• Diepenbroick, Dorothée von (2009). “Brauchen wir lesbisch-schwule Filmfestivals? Maren Kroymann im Interview mit Dorothée von Diepenbroick.” Bildschön: 20 Jahre Lesbisch Schwule Filmtage Hamburg. Eds. Dorothée von Diepenbroick, and Skadi Loist. Hamburg: Männerschwarm. pp. 34–39.
• Diepenbroick, Dorothée von, and Skadi Loist, eds. (2009). Bildschön. 20 Jahre Lesbisch Schwule Filmtage Hamburg. Hamburg: Männerschwarm.
• Dioli, Irene (2009). “Back to a Nostalgic Future: The Queeroslav Utopia.” Sextures1:2 (2009). <http://sextures.net/dioli-queeroslav-utopia>. (21 Jan. 2010)
• Doan, Laura L.The Lesbian Postmodern. New York: Columbia University Press, 1994.
• Dorsey, Zachary. ‘ Slick Moves: Queer Fight Choreography in The Transporter’, In Media Res, December 5, 2007
• Doty, ‘Hot in Cleveland: Everything Old is New Again?’, Republished in FlowTV, August 7, 2012
• Doty, Alexander. ‘I Love Shari: My Queerly Feminist Life with TV’, Republished in FlowTV, August 7, 2012
• Doty, Alexander. ‘Modern Family, Glee, and the Limits of Television Liberalism’, Republished by FlowTV, August 7, 2012
• Dyer, 'Homosexuality in Film Noir', fromJump Cut, No. 16, 1977, pp. 18-21
• Dyer, Richard. Todd Haynes interviewed by Richard Dyer [audio recording from the Tate Modern], 'Double Indemnity: Todd Haynes/Edward Hopper' (4 June 2004)
• Dyer, Richard:The Culture of Queers (2002). ISBN 0-415-22376-8
• Emin-Tunc, Tanfer and Prescott, Nichole. 'Glen or Glenda: Psychiatry, Sexuality, and the Silver Screen',Bright Lights Film Journal, Issue 41, August 2003
• Farmer, Brett and Stacy Wolf, ‘Stage Door Jennies’, Genders OnLine Journal, 38, 2003
• Feistel, Felix (2008). Der Teddy-Award: Der schwul-lesbisch-transidentische Filmpreis der Internationalen Filmfestspiele Berlin. VDM Verlag.
• Fléchet, Pascale Gœtschel, Patricia Hidiroglou, Sophie Jacotot, Caroline Moine, and Julie Verlaine. Paris: Publications de la Sorbonne. pp. 109–121.
• Ford, Akkadia (2014). “Curating a Regional, Queer Film Festival.” Fusion 4 (2014). <http://www.fusion-journal.com/issue/004-fusion-the-town-and-the-city/curating-a-regional-queer-film-festival/>. (26 Aug. 2014)
• Frey, Martin.Derek Jarman - Bewegte Bilder eines Malers. BoD 2008, ISBN 978-3-8370-1217-0
• Fruth, Bryan Ray.'Media Reception, Sexuality Identity, and Public Space', e-PhD Thesis, The University of Texas at Austin, 2007
• Fung, Richard (1999). “Programming the Public.” [Queer Publicity: A Dossier on Lesbian and Gay Film Festivals]. GLQ: A Journal of Lesbian and Gay Studies5:1 (1999): 89–93.
• Gaines, ‘Dorothy Arzner’s trousers’, Jump Cut, 37, July 1992
• Gaines, 'Deviant Eyes, Deviant Bodies: Queering Feminist Film Theory', fromJump Cut, no. 41, May 1997, pp. 45-48
• Galt, Rosalind, and Karl Schoonover (2014). “Minds, Bodies, and Hearts: Flare London LGBT Film Festival 2014.” Festival review. NECSUS: European Journal of Media Studies3:2 (#6) (2014): 217–224. <http://www.necsus-ejms.org/minds-bodies-hearts-flare-london-lgbt-film-festival-2014/>. (5 Dec. 2014)
• Gamson, Joshua (1996). “The Organizational Shaping of Collective Identity: The Case of Lesbian and Gay Film Festivals in New York.” Sociological Forum11:2 (1996): 231–261.
• Gann, Jon (2012). “‘Storyteller. Activist. Transformer.’: John Scagliotti, Director, Film Festival Founder and Organizer.” Behind the Screens: Programmers Reveal How Film Festivals Really Work. Washington, DC: Reel Plan Press. pp. 49–56.
• Garel, Stefan Jack. 'Queer Bodies and Settlements', (e-PhD Thesis: University of Exeter, 2008)
• 'Gays, Lesbian, and Transgendered People in Motion Pictures: A Bibliography of Materials in the UC Berkeley Library'
• Gerstner, 'Queer Modernism: The Cinematic Aesthetics of Vincente Minnelli',Modernity, Vol. 2, 2000
• Goddard, 'Beauty Lies in the Eye (So Why Can't I Touch It?)',Film-Philosophy, Vol. 2, No. 25, 1998
• Gorfinkel, Elena (2006). “Wet Dreams: Erotic Film Festivals of the Early 1970s and the Utopian Sexual Public Sphere.” Framework 47:2 (2006): 59–86.
• Grant, ‘…Skipping ROPE (Through Hitchcock’s Joins)’, Frames, 1, 2012
• Grant, ‘Framing Incandescence: Elizabeth Taylor in JANE EYRE’, Film studies For Free, April 7, 2011
• Grant, ‘Our Beautiful Wickedness: On Reading Films Queerly. In Memory of Alexander Doty’, Film Studies For Free, August 13, 2012 
• Greven, American Medusa: Bette Davis, Beyond the Forest, femininity, and Camp’, Jump Cut, 46, Summer 2003
• Grossman, Andrew. 'Twelve Tone Cinema: A Scattershot Notebook on Sexual Atonality',Bright Lights Film Journal, Issue 43, February 2004
• Grossman, Andrew. ‘Film Sissies’, glbtq: An Encyclopedia of Gay, Lesbian, Bisexual, Transgender, and Queer Culture, 2002
• Grossman, “The Trouble with Carol: The Costs of Feeling [On Todd Haynes'Safe]', Other Voices 2.3 January 2005
• Grundmann, Roy (1992). “Politics Esthetics Sex: Queer Films and Their Festivals.”Cineaste19:1 (1992): 50–52, 62.
• Guillén, The Evening Class blog, 2006-present
• Han, Ju Hui Judy, and Marie K. Morohoshi (1998). “Creating, Curating, and Consuming Queer Asian American Cinema.” Q & A: Queer in Asian America. David L. Eng, and Alice Y. Hom. Philadelphia: Temple Univ. Press. pp. 81–94.
• Hanhardt, Christina B. (2001). “Founding New Beginnings: Passing the Torch at MIX.” A Closer Look: Media Arts 2001. Ed. Helen de Michiel. San Francisco: National Alliance for Media Arts and Culture (NAMAC). pp. 39–48.
• Hartzell, Adam. 'Queer Pal For The Straight Gal -Wanee & Junah and Queer Friendship', The Film Journal, Issue 7
• Heyn-Jones, Zoë. 'Eye and Brain, Torn Asunder: Reading Ideology in Sally Potter’sOrlando', Synoptique, 11, March 12, 2008
• High, ’Boys Will Be Boys With Boys: the Real and queer subjectivity in film’, Reconstruction Vol. 9, No. 3, 2009
• Hogan, Mel. ’21 years of image & nation: legitimizing the gaze’, Nouvelles «vues» sur le cinéma québécois, no. 10, Hiver 2008-2009
• Hohenberger, Eva, and Karin Jurschick (1994). “As women, as people of color, as lesbians…: Diskussionen und Filme über raceund gender bei den Gay and Lesbian Film Festivals in New York und San Francisco 1993.” Frauen und Film 54/55 (1994): 149–164.
• In Media Res GLBT media-themed week, April 21-25, 2008
• Irini Stamatopoulos, 'Ang Lee's Cowboys',Offscreen Journal, Volume 11, Issue 2 (February 28, 2007)
• Jarman, Derek:Queer Edward II (1991) ISBN 0-85170-316-X
• Jenkins, 'Grief's Testimony: On Almodóvar’sAll About My Mother', Scan: Journal of Media Arts Culture, Vol. 4, Number 2, August 2007
• Jenkins, Henry et al, ‘Acafandom and Beyond: Alex Doty, Abigail De Kosnik, and Jason Mittell (Part One)’, Confessions of an Acafan, September 28, 2011
• Jenkins, Henry et al, ‘Acafandom and Beyond: Alex Doty, Abigail De Kosnik, and Jason Mittell (Part Two)’, Confessions of an Acafan, September 30, 2011
• June, Jamie L. (2004). “Defining Queer: The Criteria and Selection Process for Programming Queer Film Festivals.” CultureWork8:2 (2004). <http://aad.uoregon.edu/culturework/culturework26.html>. (7 Dec. 2008)
• June, 'Is it Queer Enough?: An Analysis of the Criteria and Selection Process for Programming Films within Lesbian, Gay, Bisexual, Transgender, and Queer Film Festivals in the United States' (e-Thesis) MA Thesis, University of Oregon, August 2003
• Jusick, Stephen Kent (2004). “Gay Art Guerrillas: Interview with Jim Hubbard and Sarah Schulman.” That’s Revolting! Queer Strategies for Resisting Assimilation. Ed. Matt Bernstein [Mattilda] Sycamore. Brooklyn: Soft Skull Press. pp. 39–58.
• Kajinic, Sanja (2008). “The Queer Zagreb Festival and Its Intersectional Manifestos.” New Subjectivities: Negotiating Citizenship in the Context of Migration and Diversity. Eds. Golańska, Dorota and Aleksandra M. Różalska. Łódz: Wydawnictwo Uniwersytetu Łódzkiego | Lodz Univ. Press. pp. 187–202.
• Kajinic, Sanja (2010). “‘Battle for Sarajevo’ as ‘Metropolis': Closure of the First Queer Sarajevo Festival according to Liberal Press.” Anthropology of East Europe Review 28:1 (2010): 62–82. <http://scholarworks.iu.edu/journals/index.php/aeer/article/view/654/747>. (8. Jun. 2011)
• Kakmi, 'Queer Cinema: A Reality Check',Senses of Cinema, 2000
• Kemp, 'Bi-Polar Gender-Blender:Sylvia Scarlett,' Senses of Cinema 22, Sept-Oct 2002
• Kim, Jeongmin (2007). “Queer Cultural Movements and Local Counterpublics of Sexuality: A Case of Seoul Queer Films and Videos Festival.” Transl. Sunghee Hong. Inter-Asia Cultural Studies8:4 (2007): 617–633.
• Kirkland, 'Romantic Comedy and the Construction of Heterosexuality',Scope Issue 9, 2007
• Kraus, ‘Transexuality in Film’, glbtq: An Encyclopedia of Gay, Lesbian, Bisexual, Transgender, and Queer Culture, 2002
• Kuzniar, Alice. ‘Schwul-lesbisches Kino aus Deutschland’, in: Bildschön: 20 Jahre Lesbisch Schwule Filmtage Hamburg, ed. by Dorothée von Diepenbroick and Skadi Loist (Hamburg: Maennerschwarm Verlag, 2009)
• Lee, Kevin B. 'Madchen in Uniform (Leontine Sagan, 1931)'
• Li, Cheuk Yin. ‘The Absence of Fan Activism in the Queer Fandom of Ho Denise Wan See (HOCC) in Hong Kong’, edited by Henry Jenkins and Sangita Shresthova, special issue, Transformative Works and Cultures, no. 10, 2012
• Lin, Hui-Ling. Bodies in Motion: The Films of Transmigrant Queer Chinese Women Filmmakers in Canada, PhD Thesis, University of British Columbia, 2011
• Lindner, Katharina (2015). “Review of Queer Film Culture: Queer Cinema & Queer Film Festivals International Conference.” Transnational Cinemas 6:1 (2015): 97–103.
• Lo, 'The Politics and Aesthetics of “Asian American” Sexuality in Ang Lee’s Cross-Cultural Family Dramas: A Case Study on The Wedding Banquet and The Ice Storm', Stanford Journal of Asian American Studies, Vol. 1, 2008
• Loist, Skadi (2008). “Frameline XXX: Thirty Years of Revolutionary Film: Der Kampf um queere Repräsentationen in der Geschichte des San Francisco International LGBT Film Festival.” Medien – Diversität – Ungleichheit: Zur medialen Konstruktion sozialer Differenz. Eds. Ulla Wischermann, and Tanja Thomas. Wiesbaden: VS Verlag für Sozialwissenschaften. pp. 163–181.
• Loist, Skadi (2009). “Das Queer Cinema und die Bedeutung lesbisch-schwuler Filmfestivals: Monika Treut im Interview mit Skadi Loist.” Bildschön: 20 Jahre Lesbisch Schwule Filmtage Hamburg. Eds. Dorothée von Diepenbroick, and Skadi Loist. Hamburg: Männerschwarm. pp. 12–20.
• Loist, Skadi (2010). “Queer Film and the Film Festival Circuit.” Curator’s Note. In Media Res Sep. 2010. <http://mediacommons.futureofthebook.org/imr/2010/09/14/queer-film-and-film-festival-circuit>. (10. Dec. 2010)
• Loist, Skadi (2011). “Precarious Cultural Work: About the Organization of (Queer) Film Festivals.” Screen 52:2 (2011): 268–273.
• Loist, Skadi (2012). “A Complicated Queerness: LGBT Film Festivals and Queer Programming Strategies.” Coming Soon to a Festival Near You: Programming Film Festivals. Ed. Jeffrey Ruoff. St. Andrews: St Andrews Film Books. pp. 157-172.
• Loist, Skadi (2013). “Konvergenzen im Filmfestival-Circuit: Filmfestivalforschung und Queer Studies.” Sexy Media? Gender/Queertheoretische Analysen in den Medien- und Kommunikationswissenschaften. Eds. Skadi Loist, Sigrid Kannengießer, and Joan Kristin Bleicher. Bielefeldt: transcript. pp. 187–205.
• Loist, Skadi (2013). “The Queer Film Festival Phenomenon in a Global Historical Perspective (the 1970s-2000s).” Une histoire des festivals: XXe-XXIe siècle. Eds. Anaïs
• Loist, Skadi (2014). “Queer Film Culture: Performative Aspects of LGBT/Q Film Festivals.” PhD Thesis. Hamburg: Universität Hamburg, Institut für Medien und Kommunikation
• Loist, Skadi (2014). “Rêves transversaux: La circulation des films queer dans le réseau des festivals.” Transl. Brigitte Rollet. Diogène: Revue internationale des sciences humaines245 (2014): 80–103.
• Loist, Skadi (2015). Queer Film Festivals globally (1977-2015), interactive map of LGBT/Q film festivals globally since 1977. <http://tinyurl.com/kmbwzwf>
• Loist, Skadi, and Ger Zielinski (2012). “On the Development of Queer Film Festivals and Their Media Activism.” Film Festival Yearbook 4: Film Festivals and Activism. Eds. Dina Iordanova and Leshu Torchin. St Andrews: St Andrews Film Studies. pp. 49–62.
• Loist, Skadi, and Marijke de Valck (2010). “Film Festivals / Film Festival Research: Thematic, Annotated Bibliography: Second Edition.” Medienwissenschaft / Hamburg: Berichte und Papiere 91 (2010). <http://www1.uni-hamburg.de/Medien//berichte/arbeiten/0091_08.html>. (19. May. 2010 (sections:  Film Festivals: The Long View; 2. Festival Time: Awards, Juries and Critics; 3. Festival Space: Cities, Tourism and Publics; 4. On the Red Carpet: Spectacle, Stars and Glamour; 5. Business Matters: Industries, Distribution and Markets; 6. Trans/National Cinemas; 7. Programming; 8. Reception: Audiences, Communities and Cinephiles; 9. Specialized Film Festivals; 10. Publications Dedicated to Individual Film Festivals; 11. Online Resources; Contact / Bio), 2008
• Loist, Skadi, and Marijke de Valck (2013). “Trans* Film Festivals: An Interview with Eliza Steinbock.” NECSUS: European Journal of Media Studies 4 (2013). <http://www.necsus-ejms.org/trans-film-festivals-an-interview-with-eliza-steinbock/>. (19 Nov. 2013)
• Loist, Skadi, and Marijke de Valck, ‘Film Festival Studies: An Overview of a Burgeoning Field’, in: Film Festival Yearbook 1: The Festival Circuit. Eds. Dina Iordanova and Ragan Rhyne. St. Andrews: St. Andrews Film Studies, 2009. pp. 179–215
• Loist, Skadi, and Marijke de Valck, ‘LGBT / Queer Film Festivals’, Film Festival Research Network, last updated November 2012
• Loist, Skadi. ‘Das Queer Cinema und die Bedeutung lesbisch-schwuler Filmfestivals: Monika Treut im Interview mit Skadi Loist’n: Bildschön: 20 Jahre Lesbisch Schwule Filmtage Hamburg. Eds. Dorothée von Diepenbroick, and Skadi Loist. Hamburg: Männerschwarm, 2009. pp. 12–20
• Loist, Skadi. ‘Precarious cultural work: about the organization of (queer) film festivals’, Screen, 52.2, 2011
• Loist, Skadi. ‘Queer Film and the Film Festival Circuit’, In Media Res, September 14, 2010
• MacCormack, 'Barbara Steele's Ephemeral Skin: Feminism, Fetishism, and Film',Senses of Cinema, September 2002
• MacCormack, Pleasure, Perversion and Death: Three Lines of Flight for the Viewing Body, Transmat Online Book
• MacDowell, 'What Value is There in Gus Van Sant'sPsycho?', Offscreen Journal, Vol. 9, Issue 7, 2005
• Maddison, 'Pedro Almodóvar and Women on the Verge of a Nervous Breakdown: the Heterosocial Spectator and Misogyny', Chapter 4 of Fags, hags, and queer sisters : gender dissent and heterosocial bonds in gay culture (New York : St. Martin's, 2000)
• McBride, 'George Cukor: The Valor of Discretion',Bright Lights Film Journal, Issue 32, April 2001
• McKinnon, ‘Taking the Word ‘Out’ West: Movie Reception and Gay Spaces’, Participations, Volume 7, Issue 2 (November 2010) 
• McWilliam, Kelly (2007). “‘We’re Here All Week': Public Formation and the Brisbane Queer Film Festival.” Queensland Review 14 (2): 79–91.
• McWilliam, ‘We’re Here All Week': Public Formation and the Brisbane Queer Film Festival. Queensland Review 14(2), 2007:pp. 79-91
• Mellamphy, 'The Paradox Of Transvestism In Tim Burton’sEd Wood', Wide Screen Journal, Vol. 1, No. 1, 2009 
• Michel, 'The Incredibly True Adventure of Two Girls in Love',Cineaste, Vol. 21, No. 4, 1995
• Miller, A. 'La Ronde',Film Quarterly, Spring 2009
• Miller, A. 'AnalRope'
• Morris, ‘Film Noir’, glbtq: An Encyclopedia of Gay, Lesbian, Bisexual, Transgender, and Queer Culture, 2002
• Murray, Virginia, and Katya Johanson (2015). “The Cut-Through Concept: 52 Tuesdays, Festivals and the Distribution of Independent Australian Films.” Studies in Australasian Cinema 9:1 (2015): 52–65.
• Ogonoski, 'Queering the Heterosexual Male in Canadian Cinema: An Analysis of Jean-Claude Lauzon’sLéolo', Synoptique, 13, February 2009
• Olson, Jenni (2002). “Film Festivals.” glbtq: An Encyclopedia of Gay, Lesbian, Bisexual, Transgender, and Queer Culture (2002). <www.glbtq.com/arts/film_festivals.html>. (7 Dec. 2008)
• Ommert, Alek, and Skadi Loist (2008). “featuring interventions: Zu queer-feministischen Repräsentationspraxen und Öffentlichkeiten.” Im Zeichen des Geschlechts: Repräsentationen –Konstruktionen – Interventionen. Eds. Celine Camus, Annabelle Hornung, Fabienne Imlinger, Milena Noll, and Isabelle Stauffer. Königstein/Taunus: Ulrike Helmer. pp. 124–140.
• Panosky, 'Dorothy Arzner and Gender Representation.” In: “International Female Film Directors: Their Contributions to the Film Industry and Women's Roles in Society.” Chapter 4 of e-Thesis
• Peach, Ricardo (2005). “Queer Cinema as a Fifth Cinema in South Africa and Australia.” Dissertation. Sydney: Univ. of Technology, Faculty of Humanities and Social Sciences. (March 2005). <http://epress.lib.uts.edu.au/dspace/bitstream/2100/425/5/02whole.pdf>. (7 Dec. 2008)
• Peach, Queer Cinema as a Fifth Cinema in South Africa and Australia, PhD Thesis, University of Technology, Sydney 2005
• Pelle, Susan and Catherine Fox, 'Queering Desire / Querying Consumption: Rereading Visual Images of ‘Lesbian’ Desire in Lisa Cholodenko’sHigh Art', Third Space, Vol. 6 Issue 1, Summer 2006
• Penney,  Desperately Seeking Redundancy? Queer Romantic Comedy and the Festival Audience, PhD Thesis, University of British Columbia, 2010
• Perriam, Christopher (2013). “Festivals.”  Spanish Queer Cinema. Edinburgh: Edinburgh University Press. pp. 112-122.
• Perspex (2006). “The First Asian Lesbian Film and Video Festival in Taipei Celebrates a New Form of Social Activism.” Inter-Asia Cultural Studies7:3 (2006): 527–532.
• Ponomareva, Galina (2014). Das internationale lesbisch-schwule Filmfestival “Bok o Bok”: Zur Konstruktion von LGBT-Öffentlichkeit im politischen Kontext der Russischen Föderation. Berlin: Avinus.
• Powell, 'Putting on the Red Dress: Performative Camp in Douglas Sirk'sAll That Heaven Allows,' Forum, Issue 4, Spring 2007
• Pritchard, Mel. ‘the big queer film festival list‘, QueerFilmFestivals.org
• Rastegar, Roya (2009). “The De-Fusion of Good Intentions: Outfest’s Fusion Film Festival.” GLQ: A Journal of Lesbian and Gay Studies15:3 (2009): 481–497.
• Rees-Roberts, Nick:French Queer Cinema (2008)
• Rennebohm, 'Queering Childhood: An Examination of Claude Jutra’sDreamspeaker', Synoptique 13, February 2009
• Rhyne, Ragan (2007). “Pink Dollars: Gay and Lesbian Film Festivals and the Economy of Visibility.” Dissertation. New York: New York Univ., Department of Cinema Studies. (Jan. 2007)
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