She's a Boy I Knew
(eVideo)

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Published
[San Francisco, California, USA] : Kanopy Streaming, 2015.
Physical Desc
1 online resource (streaming video file)
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Format
eVideo
Language
und

Notes

General Note
Title from title frames.
General Note
In Process Record.
Date/Time and Place of Event
Originally produced by Outcast Films in 2007.
Description
They say that when someone comes out of the closet, they can't stop talking about it. Vancouver filmmaker Gwen Haworth not only talked she made a movie. Using archival family footage, interviews, phone messages, and hand-drawn animation, Haworth's documentary 'She's a Boy I knew' begins in 2000 with Steven Haworth's decision to come out to his family about his life-long female gender identity. The resulting auto-ethnography is not only an exploration into the filmmaker's process of transition from biological male to female, from Steven to Gwen, but also an emotionally charged account of the individual experiences, struggles, and stakes that her two sisters, mother, father, best friend and wife brought to Gwen's transition. Under Haworth's sensitive eye, each stepping stone in the process of transitioning becomes an opportunity to explore her community's and our own underlying assumptions about gender and sexuality. When Steven starts to wear his wife Malgosia's clothing, she struggles with whether Steve "wants to be with me or to be me;" when Steven changes her name to Gwen, her father comments, that's "when I realized I lost my son;" Haworth's gender reassignment surgery, or vaginoplasty, forces her sister Kim to grapple with her own experiences in the medical establishment and raises questions about the implications of the medicalization of gender. In these tender and difficult moments, 'She's a Boy I knew' forces us to question our own assumptions about the role that names, clothing, and anatomy play in our constructions of gender identity. As her transition progresses, Gwen is forced to reckon with the end of her marriage and the loss of her status as son and brother. But in doing so, she also discovers that while the nature of personal relationships may change, the love and support present within those relationships can remain just as powerful and sometimes even more so. At turns painful, funny, and awkward, 'She's a Boy I knew' explores the frustrations, fears, questions, and hopes experienced by Gwen and her family as they struggle to understand and embrace her newly revealed identity. 
System Details
Mode of access: World Wide Web.

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Citations

APA Citation, 7th Edition (style guide)

(2015). She's a Boy I Knew . Kanopy Streaming.

Chicago / Turabian - Author Date Citation, 17th Edition (style guide)

2015. She's a Boy I Knew. Kanopy Streaming.

Chicago / Turabian - Humanities (Notes and Bibliography) Citation, 17th Edition (style guide)

She's a Boy I Knew Kanopy Streaming, 2015.

MLA Citation, 9th Edition (style guide)

She's a Boy I Knew Kanopy Streaming, 2015.

Note! Citations contain only title, author, edition, publisher, and year published. Citations should be used as a guideline and should be double checked for accuracy. Citation formats are based on standards as of August 2021.

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Grouped Work ID
7538b327-7a25-d73d-6847-b4a517388ad5-und
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Grouping Information

Grouped Work ID7538b327-7a25-d73d-6847-b4a517388ad5-und
Full titleshes a boy i knew
Authorkanopy
Grouping Categorymovie
Last Update2023-09-27 09:56:57AM
Last Indexed2024-03-27 02:17:39AM

Book Cover Information

Image Sourcesideload
First LoadedDec 24, 2023
Last UsedDec 24, 2023

Marc Record

First DetectedSep 08, 2015 12:00:00 AM
Last File Modification TimeSep 27, 2023 09:57:47 AM

MARC Record

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520 |a They say that when someone comes out of the closet, they can't stop talking about it. Vancouver filmmaker Gwen Haworth not only talked she made a movie. Using archival family footage, interviews, phone messages, and hand-drawn animation, Haworth's documentary 'She's a Boy I knew' begins in 2000 with Steven Haworth's decision to come out to his family about his life-long female gender identity. The resulting auto-ethnography is not only an exploration into the filmmaker's process of transition from biological male to female, from Steven to Gwen, but also an emotionally charged account of the individual experiences, struggles, and stakes that her two sisters, mother, father, best friend and wife brought to Gwen's transition. Under Haworth's sensitive eye, each stepping stone in the process of transitioning becomes an opportunity to explore her community's and our own underlying assumptions about gender and sexuality. When Steven starts to wear his wife Malgosia's clothing, she struggles with whether Steve "wants to be with me or to be me;" when Steven changes her name to Gwen, her father comments, that's "when I realized I lost my son;" Haworth's gender reassignment surgery, or vaginoplasty, forces her sister Kim to grapple with her own experiences in the medical establishment and raises questions about the implications of the medicalization of gender. In these tender and difficult moments, 'She's a Boy I knew' forces us to question our own assumptions about the role that names, clothing, and anatomy play in our constructions of gender identity. As her transition progresses, Gwen is forced to reckon with the end of her marriage and the loss of her status as son and brother. But in doing so, she also discovers that while the nature of personal relationships may change, the love and support present within those relationships can remain just as powerful and sometimes even more so. At turns painful, funny, and awkward, 'She's a Boy I knew' explores the frustrations, fears, questions, and hopes experienced by Gwen and her family as they struggle to understand and embrace her newly revealed identity. 
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