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The consequences of these differing understandings of the subject are substantial. For example, in contrast to Foucault's account of subjectivity and homosexuality, these real (female) subjects in de Lauretis's account apparently do not have to work at becoming women, so that de Lauretis is open to the charge that her essay depends on a kind of essentialism. It appears at times in de Lauretis's account that being an "actual" woman is itself tantamount to resisting patriarchy. Additionally, we might ask what exactly de Lauretis's female agents are resisting when they create non-male-centered narratives of gender difference.

Such an exploration treats pornography as a text that might "resist" the ongoing practices of disciplinary subject formation. Chapter 3 is an examination of race, class, and sexuality in Marlon Riggs's video Tongues Untied. I argue that the video seems unable to elaborate some of the numerous contradictions in which it is necessarily embroiled. This inability in turn requires the video to deploy what I characterize, after Laura Kipnis, as a white, middle-class feminist position against pornography, a position I question for its efforts to shore up the Other as subject.

The analysis then turns to xxxiv Introduction John Greyson's film Urinal, examining the film as an attempt to mobilize and deploy a critical history of the Other. This analysis of Urinal brings us full circle, as it were, for it concludes with an exploration of the ways in which the film uncritically conflates resistance on the level of subjectivity with political resistance by mobilizing a notion of state power that I think I will have shown to be indefensible and beset by undesirable consequences.

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