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Hipster Porn examines models of gay hipster masculinity through the lens of the gay fanzine Butt. The book reconstructs an important chapter of recent gay and queer history in order to make sense of the cultural shifts of the last 20 years in the contemporary gay world.Butt exemplifies the changing nature of gay contemporary masculinity as it marked the beginning of a new era of queer fanzines such as They Shoot Homos Don't They?, Kink, Kaiserin, and Meat reflecting a specific cosmopolitan gay lifestyle in the West of the 2000s. The new forms of masculinity and sexuality demanded new ways of thinking about gender and desire. Hipster Porn takes the aesthetics of Butt to find a way of critiquing and rearticulating key concepts from gender, queer and affect theory, and delivers new accounts of subjectivity and sociality as they apply to queer media culture. This book is suitable for researchers in gender studies, queer and masculinity studies, cultural studies, media studies, and sociology.

Hipster Porn nimmt "Butts" stilbildende Originalität in den Blick. Über die Perspektiven von Queer Theory, Masculinity Studies, Medienwissenschaften und Affekttheorie wird die Welt des Fanzines lesbar, wie umgekehrt auch deren theoretische Positionen durch "Butt" herausgefordert werden

Beyond parody, gay men's identification with heteromasculinity, in its dead seriousness, appears to Bersani as being almost mad. In spatial terms, madness marks a proximity to—and not a distance between—powerfully normative images of gender. In his reading of the dynamics of madness, Bersani embraces this instability of identification that may ultimately cause the subject to collapse. Gay sex practices provide the occasion for this scene of vertigo, which, in Bersani's work, opens a space that exists after the fall of the ego and that is often further explored through a turn to art: following the death of the psychoanalytic subject, the aesthetic subject appears. This essay, however, returns to the scene of the sexual. It traces the path of sexual practices discussed by Bersani, from gay anal intercourse to rimming, finally introducing fisting as a sexual practice that deserves to be read in Bersanian terms, insofar as it produces a form of "new masculinity."

Nicht nur genderpolitisch unumwunden rückwärtsgewandte, sondern auch vermeintlich liberale Beiträge missverstehen Butler. Dazu zwei aktuelle Beispiele: die mediale Repräsentation der Transsexuellen Caitlyn Jenner und die der Eurovision Song Contest-Gewinnerin von 2014, Conchita Wurst. Im Fall von Jenner gerät über die Begeisterung für den erfolgreich vollzogenen Seitenwechsel der Machtanspruch von Gender selbst in den Hintergrund, sie wird zur Ikone einer neoliberalen Selbstoptimierung. Im Fall von Wurst wird die Event-Kultur von Eurovision insgesamt als «Gender-Fasching» wahrgenommen. Beide Beispiele illustrieren eine der gängigsten Fehllektüren Butlers: dass Gender frei wählbar wäre oder sogar so einfach zu haben sei wie ein Kostümwechsel. An diesem Punkt schlägt die mediale Berichterstattung über Gender um in ihre Diffamierung, denn die Fehllektüre eines als voluntaristisch missverstandenen Gender-Begriffs ruft ihren Widerspruch schon mit auf. ; Not only approaches that are openly reactionary but even presumably liberal ones misread Butler. Here are two current examples: the media representations of the transsexual Caitlyn Jenner and of Conchita Wurst, the Eurovision Song Contest winner of 2014. In the case of Jenner, the ways in which gender is coerced are overlooked in order to celebrate the successful switching of sides. Thus, Jenner becomes an icon of a neoliberal form of self-optimization. In the case of Wurst, Eurovision as such is perceived as a form of gender carnivalesque. Both examples illustrate one of the most common misreadings of Butler: That you can chose your gender freely, even as easily as putting on a costume. At this point the media coverage on gender issues flips into a form of defamation, since the misreading of the concept of gender as voluntaristic already provokes its objection.

Von den Büchern und Texten, die der New Yorker Autor und Literaturprofessor Wayne Koestenbaum geschrieben hat, sind eine Reihe Stars und Prominenten gewidmet, darunter Jackie Kennedy, Lana Turner, Debbie Harry, Andy Warhol und Harpo Marx. In seinen idiosynkratischen «Celebrity Studies» avant la lettre praktiziert er eine Schreibweise, die durch fließende Übergänge zwischen fasziniertem Fantum, akribischer Analyse und Theoriereflexion gekennzeichnet ist. Das Gespräch dreht sich u. a. um Initiationen und Verknalltheiten, um gegenwärtig besonders unheimliche Komplizenschaften von Politik und Celebrity, um Blondie-Sängerin Debbie Harry, Madonna und Omar Sharif Jr. und um ‹Kontakte› mit Stars in Social Media. ; Several of the books and texts written by the author and professor of literature Wayne Koestenbaum are devoted to stars and celebrities, amongst them Jackie Kennedy, Lana Turner, Debbie Harry, Andy Warhol, and Harpo Marx. In his idiosyncratic «Celebrity Studies» avant la lettre, he practices a style of writing that can be characterized by fluid transitions between fascinated fandom, meticulous analysis und theoretical reflexion. The conversation revolves around initiations, crushes, contemporary and particularly sinister complicities between politics and celebrity, Debbie Harry, Madonna and Omar Sharif Jr., and around ‹contacts› with stars in social media.