Femme on Femme: Reflections on Collaborative Methods and Queer Femme-inist Ethnography. 1–22.

This article reflects on the queer dimensions of conducting ethnographic research with/in “ones own community” and on the possibility of queering ethnographic writing. Focusing femme-on-femme research and modes of representation, I argue that collaboration with research subjects queers research conventions and contributes to a reconsideration of what counts as theory, particularly with regards to femininity and its place within queer feminism. Here I first discuss two queer feminist ethnographic models for conducting research within sub-cultural communities to which one belongs. I then address ideas about home/community and how ideas of distance continue to structure ethnographic knowledge production. The central discussion centres on a retrospective reflection on the joys and dilemmas of collaborative work drawing on research for the book Femmes of Power: Exploding Queer Femininities (Volcano & Dahl 2008). In particular, I scrutinize the dichotomy between the theorizing academic and her “informants” arguing that femme-inist ethnography highlights citation, collaboration and co-production of ideas

Ruotsalaisten elokuvien uusi tyttö

Arvosteltu teos: New feminisms, gender equality and neoliberalism in swedish girl films, 1995-2006 / Heta Mulari. Turku : Heta Mulari, 2015

‘Oh you pretty thing!’: How David Bowie ‘unlocked everybody’s inner queen’ in spite of the music press

The 1967 Sexual Offence Act decriminalised homosexual acts between men allowing gay men to discuss their sexuality in public. Few prominent popular musicians came-out until 1972 when David Bowie claimed that he was bisexual in an interview with Melody Maker. Music papers and Bowie had substantial cultural power: Bowie was a rising star and music papers recruited journalists who discussed and perpetuated social change. The subsequent conversation, however, reinforced negative stereotypes in constructing the queer subject and tried to safeguard commercial concerns due to the assumption that the market for popular music avoided queer music. This undermined arguments that associate permissive legislation with a permissive media and society, but, to some, representation alone empowered people and destabilised preconceptions about queer identity.Published versio