“With Shimmering Images: Trans Cinema, Embodiment, and the Aesthetic of Change […] I offer a cinematic philosophy of transgender embodiment through deep consideration of the ways that film constitutes a medium for transitioning,” (p. 2) writes Eliza Steinbock at the outset of their important monograph. In particular, Steinbock draws upon the shimmer both as a concept and as a formal property of film to explore “film's potential for thinking/feeling in a nonbinary way” (p. 3). The “shimmer” is thus for Steinbock an umbrella term for how “transgender and cinematic technologies alike operate through the bodily practice and technological principle of disjunction” (p. 6). That is, as Steinbock shows through the character of Anybodys (Susan Oakes) from West Side Story (Jerome Robbins and Robert Wise, 1961), cinematic images are always moving, a shimmering that Steinbock, together with the trans* cultural producers that they analyse, seeks to reintroduce “into our line of vision” (p. 8).

中文翻译：

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伊丽莎·斯坦博克 (Eliza Steinbock) (2019) 闪闪发光的图像：跨电影、体现和变革美学

“凭借闪烁的图像：跨性别电影、体现和变革美学[...] 我通过深入考虑电影构成过渡媒介的方式来提供跨性别体现的电影哲学，”（第 2 页）伊丽莎·斯坦博克在他们重要专着的开头。特别是，Steinbock 将微光作为电影的一个概念和一种形式属性来探索“电影以非二元方式思考/感受的潜力”（第 3 页）。因此，对于 Steinbock 来说，“微光”是“跨性别和电影技术如何通过身体实践和分离的技术原理运作”的总称（第 6 页）。也就是说，正如斯坦博克通过西区故事中的任何人（苏珊奥克斯）的角色所展示的那样（Jerome Robbins 和 Robert Wise，1961 年），电影图像总是在移动，Steinbock 与他们分析的跨文化制片人一起寻求将这种闪光重新引入“我们的视野”（第 8 页）。