cindy patton

Although using the hegemonic significations—‘white, heterosexual, family-oriented’—the new right takes up its position as another minority, but one constituted in relation to the homophile and feminist Rainbow Coalition of minorities now read by the new right as the dominant society.
—  Cindy Patton, “Tremble, Hetero Swine!” (146)
[T]he new right reoccupied the ideology identified as mainstream by various minorities engaged in discourse reversals, only as a minority identity, not as the nonidentity of the majority. The new right took up an existing political position and claimed it as an identity after the fact.
—  Cindy Patton, “Tremble, Hetero Swine!” (168)

Boys in the Sand (Wakefield Poole, 1971).

Boys in the Sand starts with a doubly gay homage: using Warhol’s languid style, Poole captures the Fire Island culture of cruising with a long take of one of the protagonists walking purposefully along the wooden walkway, through the woods, and along a sandy trail to a secluded piece of beach. The reviewers were happy when the lonely hunk removed his clothes to gaze longingly out to sea, but were less enthusiastic about Poole’s choice of establishing shot: “He walks and walks and walks. In fact, it seems like days but you must remember that Mr. Poole is a Warhol fan so anything is possible”…’

- Cindy Patton, L.A. Plays Itself/Boys in the Sand, Vancouver: Arsenal Pulp Press, 2014, p.49.