Alice Maurice, The Cinema and Its Shadow: Race and Technology in Early Cinema (Minneapolis: University of Minnesota Press, 2013), 288 pp. + 30 b&w photos. ISBN 978-0-8166-7805-1 (paperback, $25), 978-0-8166-7804-1 (hardback, $75). Reviewed
Search Results
Reviews
Peter Lurie, Antonio Sanna, Hansen Hsu, Ella Houston, and Kristof van Baarle
Editorial
Situating Screen Bodies
Brian Bergen-Aurand
On the Cover Figure 1 Love Has No Gender, Race or Sexuality. Boitumelo and Collen. (August 2017) . This cover of Screen Bodies features a photograph by Collen Mfazwe entitled “Love Has No Gender, Race or Sexuality. Boitumelo and
Reviews
Linda Howell, Ryan Bell, Laura Helen Marks, Jennifer L. Lieberman, and Joseph Christopher Schaub
sexuality, race, age, and suffering thread throughout the collection. In Growing Pains, writers consider Marilyn Monroe, Natalie Wood, and Harrison Ford as case studies in the suffering that comes with aging in Hollywood. While Monroe and Ford represent the
Reviews
Lieke Hettinga and Terrance Wooten
. Steinbock argues that sex “can be a site in which a felt sense of one's gendered, raced body can become sutured to an imperfect, wavering w/hole, not reducible to genitals or skin” (65). By exploring a medium heavily invested in the exposure of sex and
Looking for Something to Signify
Something to Signify Gender Performance and Cuban Masculinity in Viva
David Yagüe González
world is a stage, not multiple stages. Therefore, notions of race, nationality, or class were not considered until much later in the critical thinking process, until, that is, the introduction of queer of color critique. As Roderick Ferguson would
“There’s nothing makeup cannot do”
Women Beauty Vloggers’ Self-Representations, Transformations, and #thepowerofmakeup
Michele White
applications and the power of makeup to RuPaul’s Drag Race challenge, where contestants self-presented with half-drag and half-male faces. Nikkie (2015b , 2015d ) also contextualizes her practice as drag with tutorials based on RuPaul’s Drag Race
Introduction
Visibility and Screen Politics after the Transgender Tipping Point
Wibke Straube
. The series Pose is a fantastic example of how this might be slowly changing and how cultural spaces for alternative productions and diverse and intersecting positions between class, race, gender, and sexuality are emerging. Pose , featuring New York
Solitude in Pixels
Lu Yang's Digital Figuration of Corporeality
Pao-chen Tang
any gender, race, ethnicity, or nationality (though not necessarily culture, as indicated in its Buddhist name); Doku magically manipulates matter in the pixelated world; the movements that Doku can perform transcend the limitation of Lu's own physical
Embodying Counter-Public Space and Performing Queer Culture: The Inaugural Scottish Queer International Film Festival 2015
Allison Macleod
length, a queer history emerged that embraced intersectionality: between race, gender and sexuality; between found footage and constructed reality; and between the mainstream and the radical. In line with SQIFF’s self-identification as a Scottish queer
The Politics of Revenge (Pornography)
Emma Celeste Bedor
own content which challenges “the dominant discourses … of beauty, body type, age race, etc.” (Lehman 2007: 111–112) . White (2003) also highlights the liberatory potential of participatory Internet culture in her work on Internet “cam girls,” and