Dr Akkadia Ford is a Sessional Lecturer at Southern Cross University, Australia.

• Introduction 1Introduction 1Background to the Trans New Wave emerging 3The relationship of the Trans New Wave to earlier cinematic waves 8Historical overview of key films pre-2008 with transsexualand transgender characters, themes and narratives 12Characteristics of the Trans New Wave 14Representational work of trans woman actors inindependent films and streaming video 17Overview of methodologies and the interdisciplinary approach 21Thinking across boundaries 232 Transliteracy 34Foundations of Transliteracy 34Understanding the cultural contexts for independent trans cinema 38Transliteracy and textual exegesis 43Epistemological cinema 44Ontological cinema 483 Key Texts of the Trans New Wave 62Overview 62Fictional, narrative short, animation, drama 65Factual, documentary films, docu-drama 68Uplifting lives: Black Trans Lives Matter 69Use of life cycle narratives as a representational structure for documentary: three representations of transmasculinity (selected case study text Trans Boys) 77Experimental & performance art films 82Music on screen 84Use of genres: road trip, science fiction, horror (selected case study text The Thing) 86The ‘real’ and ‘reality’ 90Use of the road movie genre as a representational metaphor for transitioning 94Recurrent themes & tropes 974 First Nations and Indigenous Trans Cinema 111First Nations and Indigenous trans cinema 111Transliterate approaches to reading films from non-western and First Nations filmmakers 111Two Spirit and Third Gender cinema 1175 Gender-Diverse Youth Narratives 132The significance of the emerging body of cinematic narratives focused upon transgender youth 132Screen families Tomgirl (Jeremy Asher Lynch, USA, 2015)and Raising Ryland (Sarah Feeley, USA, 2015) 133Temporal considerations 140The role of education 1416 Cinematic Ethnogenesis 148Birth of a new cinema 149Countercultures: screening independent trans cinema 152Overview of key international independent queer and transgender film festivals 155The reciprocal interaction of audiences and texts 158How classifications (ratings) systems may impact independent filmmakers and film festivals: overview of differences between the Australian, United Kingdom and American Systems 160Non-hegemonic cinema—whose community decides who sees the film? 173Trans new wave as reparative cinema 1757 Cinematic Futures 190Developing a canon of representation of gender diversity and sexualities 190Sexing the Transman (Buck Angel, USA, 2011) 192Trans Boys (Ali Russell and Monique Schafter, Aus., 2012)Dex’s story 196Community Action Centre (A. K. Burns, A. L. Steiner, USA, 2010) 198Cinema on demand 201The democratisation of distribution 202

Dr Akkadia Ford is a Sessional Lecturer at Southern Cross University, Australia.

• Introduction 1Introduction 1Background to the Trans New Wave emerging 3The relationship of the Trans New Wave to earlier cinematic waves 8Historical overview of key films pre-2008 with transsexualand transgender characters, themes and narratives 12Characteristics of the Trans New Wave 14Representational work of trans woman actors inindependent films and streaming video 17Overview of methodologies and the interdisciplinary approach 21Thinking across boundaries 232 Transliteracy 34Foundations of Transliteracy 34Understanding the cultural contexts for independent trans cinema 38Transliteracy and textual exegesis 43Epistemological cinema 44Ontological cinema 483 Key Texts of the Trans New Wave 62Overview 62Fictional, narrative short, animation, drama 65Factual, documentary films, docu-drama 68Uplifting lives: Black Trans Lives Matter 69Use of life cycle narratives as a representational structure for documentary: three representations of transmasculinity (selected case study text Trans Boys) 77Experimental & performance art films 82Music on screen 84Use of genres: road trip, science fiction, horror (selected case study text The Thing) 86The ‘real’ and ‘reality’ 90Use of the road movie genre as a representational metaphor for transitioning 94Recurrent themes & tropes 974 First Nations and Indigenous Trans Cinema 111First Nations and Indigenous trans cinema 111Transliterate approaches to reading films from non-western and First Nations filmmakers 111Two Spirit and Third Gender cinema 1175 Gender-Diverse Youth Narratives 132The significance of the emerging body of cinematic narratives focused upon transgender youth 132Screen families Tomgirl (Jeremy Asher Lynch, USA, 2015)and Raising Ryland (Sarah Feeley, USA, 2015) 133Temporal considerations 140The role of education 1416 Cinematic Ethnogenesis 148Birth of a new cinema 149Countercultures: screening independent trans cinema 152Overview of key international independent queer and transgender film festivals 155The reciprocal interaction of audiences and texts 158How classifications (ratings) systems may impact independent filmmakers and film festivals: overview of differences between the Australian, United Kingdom and American Systems 160Non-hegemonic cinema—whose community decides who sees the film? 173Trans new wave as reparative cinema 1757 Cinematic Futures 190Developing a canon of representation of gender diversity and sexualities 190Sexing the Transman (Buck Angel, USA, 2011) 192Trans Boys (Ali Russell and Monique Schafter, Aus., 2012)Dex’s story 196Community Action Centre (A. K. Burns, A. L. Steiner, USA, 2010) 198Cinema on demand 201The democratisation of distribution 202