The premise of this study is to investigate homonormative concepts in the works of Edward D. Wood, Jr. Following a contextualisation of the time period he was active in, the thesis interacts with camp as a concealed queer discourse and a political voice. Concepts of crossdressing as challenges to heteronormativity are observed in relation to Woods cinematic canon and persona. Case analyses of Glen or Glenda (1953) and Take It Out in Trade (1970) observe how mentioned methodologies are applicable.    The conclusions relate data exhibiting queer discourses held by Wood. Camp as a signifier of queer representation and counter oppression is identified as a discourse within Wood’s films. Examples given demonstrate how this is obscured within the agency of narrators, dialogue and metaphors. As camp evolves post-Stonewall, an adherence to camp as a parody of heteronormativity is acknowledged in later Wood pieces. Exploring concepts of crossdressing in Wood’s cinema, drag and transvestism can be excluded. Through crossdressing we find a stage for gender performativity as to reunite with the heteronormative challenges of his debut film. This reunion progresses to a compliance with homonormativity in his final feature films.