Corpses, Fools and Monsters

This is one of the most comprehensive, well-researched and discussed academic books about transness on screen. Maclay and Gardner address a lacuna and generate an important discussion about the evolving trans film image. I wish this book were published before one of my students’ wrote their dissertation on transgressiveness - there are several great discussion points in his book. I particularly found the chapters 3 through 11 (inc.) extremely insightful. I will request this book for my work and refer to it.

This book is fairly explanatory- it's a detailed history of transgender representation throughout the history of TV and film. As a side effect, it also serves as a good study of how cultural perceptions of trans people changed throughout America, in particular, in that same time period.
It was a bit of a slow read, in part because of the careful plot descriptions of so many movies, but I enjoyed it, especially the chapters discussing the representation of trans people in horror, particularly Psycho and Silence of the Lamb, and the chapter on The Matrix.
All in all, it's a fairly academic book, but well worth the read.
I received an ARC of this book from NetGalley in exchange for my fair review.

Corpses, Fools and Monsters is a journey through the history of 'trans images' in cinema, looking at how representations of trans people on screen have come about, changed, and evolved over time. The book is structured through time but also theme, taking into account wider changes in trans liberation and representation over the decades as well as cinematic depictions, and it is organised in a way that allows for a comprehensive overview as well as in depth exploration of individual films and performances.

The book is fairly academic but very accessible, not just for people studying film, and it is ideal for anyone interested in how trans people have been represented on film, covering some of the often more infamous examples as well as less well-known ones. It focuses on history and readings of films, not dense theory, and explore some of the debate and issues around films like The Silence of the Lambs or Boys Don't Cry, whilst also looking at the work of trans filmmakers and where trans film might be going, ending with films like We're All Going To The World's Fair. By nature of the book as a history of trans cinema, it doesn't go into particular analytical depth about films or creators, but it offers a journey through film that is likely to be enlightening for many people, trans and cis alike.