A Queer Film Classic on two groundbreaking gay arthouse porn films from 1972, both examples of the growing liberalization of social attitudes toward sex and homosexuality in post-Stonewall America. Where Fred Halsted's Boys in the Sand is a frothy romp at a gay beach resort community, Wakefield Poole's L.A. Plays Itself is a dark treatise on violence and urban squalor. Both films represent particular, polarizing moments in the early history of the gay movement. Cindy Patton is a longtime activist and scholar. She is currently professor of sociology at Simon Fraser University in British Columbia.

Montreal Main, one of three QUEER FILM CLASSICS this fall, considers the brilliant yet neglected 1974 Canadian film set in Montreal's bohemian neighborhood ''the Main' and hailed at its premiere at the Whitney Museum of American Art. The movie, directed and starring Frank Vitale, is both a great indie film and a great queer film; a fascinating cinema vrit take on North American social mores and relationships in the 1970s, about a twenty something photographer living among the outcasts, junkies, and artists populating the Main, and his growing obsession with Johnny, the young son of acquaintances, a relationship that is doomed from the start. Disarming in its matter-of-fact treatment of potentially sensational themes, Montreal Main is a quiet yet powerful look at human relations among the post-flower power generation. The book, a collaboration between Thomas Waugh and Jason Garrison, details the nuanced history of this peculiar film, which was released on DVD for the first time in 2009. It also considers the politics and aesthetics of the trope of intergenerational love that director Vitale and collaborators Allan Moyle and Stephen Lack so brazenly probed, in a way that would make the film virtually impossible to produce in present day.

QUEER FILM CLASSICS is a critically acclaimed series that launched in 2009, edited by Thomas Waugh and Matthew Hays, covering some of the most important and influential films about and/or by LGBT people made between 1950 and 2005, and written by leading LGBT film scholars and critics. A Queer Film Classic on the 2005 film by French-Canadian director Jean-Marc Vallee (best known for Dallas Buyers Club and Wild), about a young gay man named Zac growing up in the 1960s and '70s who struggles to find his sense of self amidst a "crazy" family of four brothers, a loving mother, and a macho father who seeks to cure him when the boy reveals that he prefers dolls to hockey, David Bowie to Patsy Cline, and his cousin's boyfriend Paul's luscious lips to those of the girl next door. With exquisite attention to period detail, at once highly realistic and magical, C.R.A.Z.Y. chronicles Zac's place in an evolving family romance set against the backdrop of Quebec's "Quiet Revolution," when traditional Catholic culture made way for the modern age. The film won a best picture Genie Award (Canada's version of the Oscars) in 2006. Robert Schwartzwald's book discusses the film's context within a turbulent Quebec, and how French Canada is situated between, and conflicted about, American and French popular culture.

Paris Is Burning (Jennie Livingston, 1991) captures the energy, ambition, wit, and struggle of African-American and Latino participants in the 1980s New York drag ball scene. This book contextualizes the film within the longer history of drag balls, the practices of documentary, the fervor of the culture wars, and the development of queer theory and critical race studies.

What are the archives of gay and lesbian leather histories, and how have contemporary artists mined these archives to create a queer politics of the present? This book sheds light on an area long ignored by traditional art history and LGBTQ studies, examining the legacies of the visual and material cultures of US leather communities. It discusses the work of contemporary artists such as Patrick Staff, Dean Sameshima, Monica Majoli, AK Burns and AL Steiner, and the artist collective Die Kränken, showing how archival histories and contemporary artistic projects might be applied in a broader analysis of LGBTQ culture and norms. Hanky codes, blurry photographs of Tom of Finland drawings, a pin sash weighted down with divergent histories – these become touchstones for writing leather histories.

“This series will be a significant, valuable contribution to the history and literature of gay cinema. Each of these works will be valuable additions for academic and popular students of film and gay culture.”—Library Journal Trash, one of three inaugural titles in Arsenal Pulp Press' new film book series Queer Film Classics, delves into the legendary 1970 film that was arguably the greatest collaboration between director Paul Morrissey and producer Andy Warhol. The film Trash is a down-and-out domestic melodrama about a decidedly eccentric couple: Joe, an impotent junkie (played by Warhol film regular Joe Dallesandro), and Holly, Joe's feisty and sexually frustrated girlfriend (played by trans Warhol superstar Holly Woodlawn). Joe is the hunky yet passive center around whom proud Holly orbits; while Morrissey intended to show that "there's no difference between a person using drugs and a piece of refuse," Woodlawn's incredible turn reverses his logic: she makes trash as precious as human beings. The book examines the film in the context of Morrissey and Warhol's legendary partnership, with a special focus on Woodlawn's acclaimed performance: a glorious embodiment of "trash" and glamour that was so stunning, director George Cukor led a campaign (albeit unsuccessful) to win her an Oscar nomination.

The final title in the Queer Film Classics series, on Kenneth Anger's remarkable 1963 film about a gay biker gang.