Evidence of enormous vitriol

Jack Halberstam on intersectionality at Reed College.

In 1999, just six years after the rape and murder of a young gender variant person, Brandon Teena, and two friends in a small town in Nebraska, Kim Peirce released her first film, a dramatic account of the incident. The film, Boys Don’t Cry, which took years to research, write, fund, cast and shoot, was released to superb reviews and went on to garner awards and praise for the lead actor, Hilary Swank, and the young director, Kim Peirce, not to mention the film’s production team led by Christine Vachon. The film was hard hitting, visually innovative and marked a massive breakthrough in the representation of gender variant bodies. While there were certainly debates about decisions that Peirce made within the film’s narrative arc (the omission of the murder of an African American friend, Philip DeVine, at the same time that Brandon was killed), Boys Don’t Cry was received by audiences at the time as a magnificent film honoring the life of a gender queer youth and bringing a sense of the jeopardy of gender variant experiences to the screen. It was also seen as a sensitive depiction of life in small town USA. Kim Peirce spoke widely about the film in public venues and explained her relationship to the subject matter of gender variance, working class life and gender based violence.

In recent screenings of the film, some accompanied by Peirce as a speaker, others just programmed as part of a class or a film series, younger audiences have taken offence to the film and have accused the filmmaker of making money off the representation of violence against trans people. This at least was the charge made against Kim Peirce when she showed up to speak alongside a special screening of the film at Reed College in Oregon, just days after the Presidential election. Unbeknownst to the organizers, student protestors had removed posters from all around campus that advertised the screening and lecture and they formed a protest group and arrived early to the cinema on the night of the screening to hang up posters.

They removed posters that let people know about the screening and lecture, so they deprived Peirce of a potential audience and they deprived the potential audience of the screening and lecture. I remember Boys Don’t Cry as a very powerful movie, and certainly not one that was hostile to trans people.

These posters voiced a range of responses to the film including: “You don’t fucking get it!” and “Fuck Your Transphobia!” as well as “Trans Lives Do Not Equal $$” and to cap it all, the sign hung on the podium read: “Fuck this cis white bitch”!! The protestors waited until after the film had screened at Peirce’s request and then entered the auditorium while shouting “Fuck your respectability politics” and yelling over her commentary until Peirce left the room. After establishing some ground rules for a discussion, Peirce came back into the room but the conversation again got out of hand and finally a student yelled at Peirce: “Fuck you scared bitch.” At which point the protestors filed out and Peirce left campus.

Fuck this cis white bitch??? Because she made a sympathetic indie movie about a young trans man 17 years ago? That seems…hostile.

This is an astonishing set of events to reckon with for those of us who remember the events surrounding Brandon Teena’s murder, the debates in the months that followed about Brandon Teena’s identity and, later, the reception of the film. Early transgender activism was spurred into action by the murder of Brandon Teena and many activists showed up at the trial of his killers. There were lots of debates at the time about whether Brandon was “butch” or “transgender” but queer and transgender audiences were mostly satisfied with the depiction of Brandon Teena in Boys Don’t Cry. The film appealed to many audiences, queer and straight, and it continues to play around the world.

The accounts given of these recent protests at Reed College give evidence of enormous vitriol, much of it blatantly misogynist (the repeated use of the word “bitch” for example) directed at a queer, butch film maker and they leave us with an enormous number of questions to face about representational dynamics, clashes between different historical paradigms of queer and transgender life and the expression of queer anger that, instead of being directed at murderous enemies in the mainstream of American political life, has been turned onto independent film makers within the queer and LGBT communities.

Is this how intersectionalism should work? I don’t think so.

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