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Here, director Chase Joynt and historian Jules Gill-Peterson discuss the art of finding community in telling trans stories. The transcriptsįate and a crowbar led to the recovery of the subjects’ transcripts in 2017. Researchers at UCLA had previously delved into Garfinkel’s private archives, but they passed over one drawer that was rusted shut. Armed with the recovered records, Joynt and his friend Kristen Schilt began making connections between the biographical details on the page and trans actors who could bring them to life. For example, the character of Henry-whose corresponding subject is a writer-is portrayed by poet and memoirist Max Wolf Valerio, channelling his lived experience of trans masculinity into the role. MORE: Is it ethical to have kids in the climate crisis? The interview “But they live on in the way they tell us about what is difficult and joyous about the trans lives we live today.” “We can’t bring these people back from the dead,” Gill-Peterson says. While poring over Garfinkel’s research, Joynt found himself more interested in the questions asked of the participants than their answers. “I thought, ‘What would happen if we spent more time thinking about modes of interrogation rather than modes of disclosure?’ ” he says.įraming’s stripped-down set, tiny table and uncomfortable wooden chairs all strategically convey a sense of alienation. But even in the hot seat, the subjects push back. Joynt describes one moment of onscreen resistance in which Garfinkel interviews Barbara (Jen Richards), telling her he spoke to another troubled and lonely subject. “I’m not troubled,” Barbara responds, defiant.
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To achieve a vintage look and feel, Joynt’s team focused on ’50s clothing, decor and colour palettes, rather than digging for evidence of what each individual subject looked like. “We have no images of any of our archival subjects,” Joynt says. “I am so happy they aren’t captured in that way.” He says that, in the past and present, invasive and objectifying research has done extraordinary harm to trans and gender-non-conforming people. “That lack of reference is a very small way these real people managed to escape one further clutch of power from the world of social science that they were ensnared in,” Gill-Peterson says. RELATED: Zarqa Nawaz had a hit show, then a decade-long dry spell.