Abstract
Documentary representations of queer life in the United States have historically been absent or context poor, especially prior to the onset of the AIDS crisis in the 1980s. Noted photographer Tom Bianchi bucked this trend and offered an alternative view of gay life in the 1970s and 1980s through his 2013 photo book, Fire Island Pines: Polaroids, 1975–1983. The work provides a much-needed window into gay life during this period where cameras were regarded as threats, and scant documentary-style depictions exist. Through a content analysis and in-depth interview informed by feminist theory, this study explores the politics of belonging and offers insight to practitioners interested in providing nuanced depictions of marginalized groups.
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