Dr. Gilad Padva is a film, popular culture, men’s studies and queer theory scholar. He is the author of Queer Nostalgia in Cinema and Pop Culture (2014) and co-editor of Sensational Pleasures in Cinema, Literature and Visual Culture: The Phallic Eye (2014), Intimate Relationships in Cinema, Literature and Visual Culture (2017) and Leisure and Cultural Change in Israeli Society (2020). He also publishes extensively in international academic journals, international collections and international encyclopedias. He currently teaches men’s studies and popular culture at the Program for Women and Gender Studies with the NCJW at Tel Aviv University, Tel Aviv, Israel.

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• Introduction Fabricated Screens: Sexual Authenticity, Flamboyant Masquerade, and the Queer Epistemology of Pretending-to-be-gay Films. Chapter 1 Staging Effeminacy: Screening the Perilous Pleasures of Pretending to be a Sissy Chapter 2 Take It Like a Man: Cruising Machismo in Leatherland Chapter 3 Pretending to Be Allies? Straight Women, Their Pretending-to-Be-Gay Admirers and Sexual Authentication Chapter 4 Odd Couples, Queer Partnerships and Gay Marriages in Pretending-to-Be-Gay Films Chapter 5 Screening Compulsory Homosexuality: The Perilous Pleasures of Parodying Heteronormativity and Fantasizing a Topsy-Turvy Martyrdom Afterword When Gay Masks Gaze at the Deceiver's Straight Skin: The Grotesque Screening of Deceptive Horrors and Delights

Dr. Gilad Padva is a film, popular culture, men’s studies and queer theory scholar. He is the author of Queer Nostalgia in Cinema and Pop Culture (2014) and co-editor of Sensational Pleasures in Cinema, Literature and Visual Culture: The Phallic Eye (2014), Intimate Relationships in Cinema, Literature and Visual Culture (2017) and Leisure and Cultural Change in Israeli Society (2020). He also publishes extensively in international academic journals, international collections and international encyclopedias. He currently teaches men’s studies and popular culture at the Program for Women and Gender Studies with the NCJW at Tel Aviv University, Tel Aviv, Israel.

Select Guide Rating

• Introduction Fabricated Screens: Sexual Authenticity, Flamboyant Masquerade, and the Queer Epistemology of Pretending-to-be-gay Films. Chapter 1 Staging Effeminacy: Screening the Perilous Pleasures of Pretending to be a Sissy Chapter 2 Take It Like a Man: Cruising Machismo in Leatherland Chapter 3 Pretending to Be Allies? Straight Women, Their Pretending-to-Be-Gay Admirers and Sexual Authentication Chapter 4 Odd Couples, Queer Partnerships and Gay Marriages in Pretending-to-Be-Gay Films Chapter 5 Screening Compulsory Homosexuality: The Perilous Pleasures of Parodying Heteronormativity and Fantasizing a Topsy-Turvy Martyrdom Afterword When Gay Masks Gaze at the Deceiver's Straight Skin: The Grotesque Screening of Deceptive Horrors and Delights

Dr. Gilad Padva is a film, popular culture, men’s studies and queer theory scholar. He is the author of Queer Nostalgia in Cinema and Pop Culture (2014) and co-editor of Sensational Pleasures in Cinema, Literature and Visual Culture: The Phallic Eye (2014), Intimate Relationships in Cinema, Literature and Visual Culture (2017) and Leisure and Cultural Change in Israeli Society (2020). He also publishes extensively in international academic journals, international collections and international encyclopedias. He currently teaches men’s studies and popular culture at the Program for Women and Gender Studies with the NCJW at Tel Aviv University, Tel Aviv, Israel.

Select Guide Rating

• Introduction Fabricated Screens: Sexual Authenticity, Flamboyant Masquerade, and the Queer Epistemology of Pretending-to-be-gay Films. Chapter 1 Staging Effeminacy: Screening the Perilous Pleasures of Pretending to be a Sissy Chapter 2 Take It Like a Man: Cruising Machismo in Leatherland Chapter 3 Pretending to Be Allies? Straight Women, Their Pretending-to-Be-Gay Admirers and Sexual Authentication Chapter 4 Odd Couples, Queer Partnerships and Gay Marriages in Pretending-to-Be-Gay Films Chapter 5 Screening Compulsory Homosexuality: The Perilous Pleasures of Parodying Heteronormativity and Fantasizing a Topsy-Turvy Martyrdom Afterword When Gay Masks Gaze at the Deceiver's Straight Skin: The Grotesque Screening of Deceptive Horrors and Delights