Clayman, Valérie Robin2015-09-232015-09-2320152015http://hdl.handle.net/10393/32929http://dx.doi.org/10.20381/ruor-4129This thesis challenges common assumptions of trans moving images by applying theories of identification to an autoethnographic close reading of three specific texts – Hedwig and The Angry Inch (John Cameron Mitchell, 2001), Dallas Buyers Club (Jean- Marc Vallée, 2013) and Transparent (Jill Soloway, 2014) - considered by both mainstream and queer audiences to feature transgender characters and experiences. This thesis, while limited to the author’s experience as a trans woman, attempts to advance the argument that identification with trans moving images may change with one’s transition and require a reassessing of “what is trans” along with resituating the trans spectator from “object of the gaze” to “bearer of the look” (Mulvey, 1975).enTrangenderTransFilmPop cultureAutoethnographyIdentificationRepresentationMoving imagesThesis