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Association: Name: The American Studies Association URL: http://www.theasa.net
Citation: URL: http://www.allacademic.com/meta/p186561_index.html Direct Link: HTML Code:

Hill, Robert. "A Woman is a Woman is a Woman: The Performance of Postwar Femininities in Transvertia's Visual Archive" Paper presented at the annual meeting of the The American Studies Association, Philadelphia Marriott Downtown, Philadelphia, PA, Oct 11, 2007 <Not Available>. 2008-10-08 <http://www.allacademic.com/meta/p186561_index.html>

Hill, R. S. , 2007-10-11 "A Woman is a Woman is a Woman: The Performance of Postwar Femininities in Transvertia's Visual Archive" Paper presented at the annual meeting of the The American Studies Association, Philadelphia Marriott Downtown, Philadelphia, PA <Not Available>. 2008-10-08 from http://www.allacademic.com/meta/p186561_index.html

Publication Type: Conference Paper/Unpublished Manuscript Abstract: In 1960, Virginia Prince, a white, heterosexual, male-to-female transvestite from Los Angeles, published the first issue of an underground magazine named Transvestia, which sought to educate, entertain, and instruct heterosexually-oriented male cross-dressers. The magazine went from twenty-five initial subscribers to several hundred around the United States and the world over the twenty years of Prince’s editorship. Hundreds of men who enjoyed periodically dressing and behaving as women read Transvestia, and many also sent letters, fiction, life histories, and self-photographs to Prince for publication. In this respect, they assembled in an important cultural imaginary of their own making and became the authors of their own stories rather than the subjects of regulatory medical and stigmatizing cultural discourses. In this presentation, I examine Transvestia’s fascinating visual archive of photographic presentations of self. The hundreds of photographs that Prince published serve as visual evidence of the identity-work carried out by the readers, the raced and classed models of femininity they emulated, and the idealizations of postwar domesticity they valorized and some fetishized. In these photographs, most individuals position themselves in ultra-feminine poses inside domestic spaces. They dress in complete and respectable feminine wardrobes and enact such emblematic cultural roles as the well-bred lady, the dutiful suburban housewife, the girl-next-door, and the club woman type. As it was articulated and visualized in the pages of Transvestia, the identity-work of periodic cross-dressers speaks to complex questions at the intersection of (trans)gender politics, the politics of fantasy, feminism, and power. Many of Transvestia’s cross-dressers expressed a desire to look and act like “real women.” Their feminine personae, then, represented who they wanted to be, if only temporarily and periodically. Nevertheless, in their embodiments and performances of various postwar icons of white femininity, Transvestia’s cross-dressers undoubtedly emulated gender stereotypes during a decade of rapid social change in respect to many women’s economic and social advancement. In this paper, I intend to explore these tensions, conundrums, and complexities surrounding transvestite identity-construction as it was visualized in what may now be considered a "transgender" Cold War cultural imaginary. Finally, I consider how the visual construction of crossgender identities enriches the historiography on gender and sexuality in postwar America.

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