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| Acknowledgments | |
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| Introduction | |
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| Origins, Festivals, Audiences | |
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| Before the Beginning: Lineages and Preconceptions | |
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| The New Queer Cinema: Directors Cut | |
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| Collision, Catastrophe, Celebration: The Relationship between Gay and Lesbian Film Festivals and Their Publics | |
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| What's a Good Gay Film? | |
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| Bulletins from the Front | |
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| The King of Queer: Derek Jarman | |
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| True Stories of Forbidden Love | |
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| Goings and Comings, the Go Fish Way | |
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| Historical Fictions, Modern Desires: The Watermelon Woman | |
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| Channeling Domestic Violence: In the Den with Todd Haynes and Christine Vachon | |
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| The I.K.U. Experience: The Shu-Lea Cheang Phenomenon | |
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| Jonathan Caouette: What in Tarnation? | |
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| Apichatpong Weerasethakul's Tropical Maladies | |
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| Beyond Doom: Gregg Araki's Mysterious Film | |
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| A Walk in the Clouds: Juli�n Hern�ndez | |
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| Genre Meets Gender | |
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| Lethal Lesbians: The Cinematic Inscription of Murderous Desire | |
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| Queering the Biopic Documentary | |
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| A Queer and Present Danger: The Death of New Queer Cinema? | |
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| Queering a New Latin American Cinema | |
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| Preface to a History | |
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| Refashioning Mexican Screen Sexuality: Ripstein, Hermosillo, Leduc | |
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| Gay and Lesbian Traces | |
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| Mexico in the Forties: Reclaiming a Gender Pioneer | |
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| Revolution, Sexuality, and the Paradox of Queer Film in Cuba | |
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| Queering the Social Landscape | |
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| Expansions and Reversals | |
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| Ang Lee's Lonesome Cowboys | |
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| Itty Bitty Titty Committee: Free Radicals and the Feminist Carnivalesque | |
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| Queer Nouveau: From Morality Tales to Mortality Tales in Ozon, T�chin�, Collard | |
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| Got Milk? Gus Van Sant's Encounter with History | |
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| Conclusion | |
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| Filmography | |
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| Bibliography | |
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| Credits | |
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| Index | |