Under Bright Lights 2014
DOI: 10.5749/minnesota/9780816691074.003.0001
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Making a Scene

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Cited by 2 publications
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“…The separation of gay and bakla from transgender, as a disentanglement of gender and sexuality, can be attributed to two broad shifts in LGBT politics in the Philippines in recent years: on the one hand, the rise of a gay male globality, and on the other, the rise of a trans globality, both of which position themselves in relation to the bakla figure. One shift involves the rise of global gay subjects, which Benedicto argues has led to an ongoing disappearance of the bakla (2014). In his study gay globality in urban Manila, Benedicto writes about “the classed and feminized figure of the bakla —a local sexual formation often read as a conflation of homosexuality, transvestism, and lower class status—as an outsider within, a specter linked to the past…” (2014: 11).…”
Section: The Categorical Exclusions Of Transpinaymentioning
confidence: 99%
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“…The separation of gay and bakla from transgender, as a disentanglement of gender and sexuality, can be attributed to two broad shifts in LGBT politics in the Philippines in recent years: on the one hand, the rise of a gay male globality, and on the other, the rise of a trans globality, both of which position themselves in relation to the bakla figure. One shift involves the rise of global gay subjects, which Benedicto argues has led to an ongoing disappearance of the bakla (2014). In his study gay globality in urban Manila, Benedicto writes about “the classed and feminized figure of the bakla —a local sexual formation often read as a conflation of homosexuality, transvestism, and lower class status—as an outsider within, a specter linked to the past…” (2014: 11).…”
Section: The Categorical Exclusions Of Transpinaymentioning
confidence: 99%
“…One shift involves the rise of global gay subjects, which Benedicto argues has led to an ongoing disappearance of the bakla (2014). In his study gay globality in urban Manila, Benedicto writes about “the classed and feminized figure of the bakla —a local sexual formation often read as a conflation of homosexuality, transvestism, and lower class status—as an outsider within, a specter linked to the past…” (2014: 11). Benedicto then describes how the “bright lights scene,” or the spaces of gay globality characterized by incorporation into politics, consumer markets, and mainstream gay media representations, tries to “exorcise” the figure of the bakla , but that the bakla figure “keeps returning, not because it still exists as a tradition, but because the scene requires it, keeps it as a mirror that holds up an image of what gay life ‘was,’ what it might still be, and what it might become again if the scene stumbles on the march toward ‘modernity’ and fails to plug those lines of flight that steer it ‘backwards’” (2014: 11).…”
Section: The Categorical Exclusions Of Transpinaymentioning
confidence: 99%
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“…We witness things about social life, pose our questions, and make methodological moves always already with a set of ideas, perspectives, analyses, and theories in tow. Think about what it would mean to bring Michel de Certeau into the space of a hotel suite in Metro Manila to punctuate a story about gay pleasures spiked with ennui (Benedicto, 2014, p. 42). Or to marshal the idea of the “hybrid collectif,” first articulated in the conceptual terrain of the sociology of science and technology, to explain the complex deadliness of America’s policing of its southern borders (De León, 2015, pp.…”
mentioning
confidence: 99%