In this issue of Projections , Dan Flory examines issues of race in film from a singular angle. He is interested in understanding how disgust reactions, manifested by viewers in relation to characters and situations, are inflected by racial
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Editor's Introduction
Screening Transgression
Andrew J. Ball
impact of popular visual representations of Shelley's novel on contemporary works by Ahmed Saadawi and Jeanette Winterson, which emphasize concerns of otherness as related to gender and race, as well as anxieties about how the body is altered by
Andrew J. Ball
and sexuality studies, and in critical race and ethnic studies. These many disciplinary and topical elements are elegantly assembled in this issue's special section entitled “Queer Sinofuturisms.” We are particularly excited to contribute to the
Redefining Representation
Black Trans and Queer Women’s Digital Media Production
Moya Bailey
health and social needs are addressed—unlike with other types of difference, such as race—the use of such hashtags as #girlslikeus allows for a network where this information can be dispensed, even with anonymity. In addition, transitioning “vlogs” or
Peter Lurie, Antonio Sanna, Hansen Hsu, Ella Houston, and Kristof van Baarle
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
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
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
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