This issue of Screen Bodies features a Screen Shots section focusing on screening
disability, including essays on new disability documentaries, vacillation and the
dis/abled male body—especially as it plays out in Fred Zimmerman’s 1950 film
The Men—and questions of masquerade and representations of Richard III on
stage and screen. It also includes general essays on “undoing” gender through
complicity and subversion, the rise in the importance of the haptic in Japanese
society, culture, and filmmaking in the 1920s, and an investigation of uncertainty
and the “generosity paradox” with regard to gender, sexuality, and
ability in cyborg cinema.
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