I argue that transnational ways of seeing help us apprehend the histories of globalization, immigration and imperialism that frame and make legible cultural productions. Focusing on John Cameron Mitchell's 2001 film Hedwig and the Angry Inch, which has been almost universally received as being about transsexuality, this essay argues that the film is equally about transnationality and specifically about how queer identifications and identities are produced in relation to the nation-state. Hedwig explores the limits of national belonging and the pleasures of US popular culture through the lens of sexual and gender identity, with the ambiguity of the Hedwig's body embodying confusion about legal, political and cultural citizenship. The film identifies and critiques the violences of heteronormative national belonging, yet by reading Hedwig alongside the political and legal histories that make its narrative legible, it becomes apparent that the film's popular reception frequently erases the transnational and imperial histories that undergird and produce sexual identities and identification. I argue that cultural practices do not simply reflect national or queer identifications but also produce them. The fissures between the cultural work of the film itself and of its circulation illustrate how despite the mutual imbrication of sexuality and nationality, transsexuality is sometimes more readily apprehended than is transnationality.
IntroductionTransnational ways of seeing make visible and produce subjects who can apprehend, the global linkages that precede and make possible territorial formations produced under the sign of the nation-state. Popular culture is central to these processes. John Berger (1972) coined the phrase 'ways of seeing' to argue that visual representations do not only depict images, they also produce looking relations and subject positions for audiences and viewers. Key to his analysis was an understanding that viewing practices are produced within, and in turn reproduce, social relations based on gender, race, sexuality and nation. Bringing a transnational focus to Berger's well-known formulation and relying on Marx's distinction between the 'visible' and the 'seeable', I argue that what we see -and what we apprehend about what we see in popular culture -is an historical and geopolitical, not merely physiological, experience. 1 I use the term 'apprehend' because its multiple meanings -to grasp the importance of something, to arrest somebody, to sense something, and to await an impending disaster with dread -capture the simultaneous acts of cognitive