problematic images associated with AIDS, prostitution, and gender stereotyping. 4 Further yet, these same films were in many ways haunted by a number of taboos imposed by a dominant and heteronormative film industry. One such example that comes to mind is the
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Transitions Within Queer North African Cinema
Nouri Bouzid, Abdellah Taïa, and the Transnational Tourist
Walter S. Temple
Linda Howell, Ryan Bell, Laura Helen Marks, Jennifer L. Lieberman, and Joseph Christopher Schaub
globally distributed by a subscription-based video-streaming service. It seems to demand a sophisticated awareness of the ways that these new modalities influence not just the production of stereotypes, but the complex new circumstances in which they
Introduction
Toward a Queer Sinofuturism
Ari Heinrich, Howard Chiang, and Ta-wei Chi
further./By embracing seven key stereotypes of Chinese society (Computing, Copying, Gaming, Studying, Addiction, Labour and Gambling), it shows how China's technological development can be seen as a form of Artificial Intelligence.” 3 Conn (2020): 66 . A
Voicing Pride and Futurity in the Age of A.I.
An Interview with Playwright Pao-Chang Tsai on Solo Date
Jing Chen and Pao-Chang Tsai
question because it's a constant struggle between creating a more specific label (such as a gender pronoun) and de-labeling all the unnecessary boxes and stereotypes. Chen: Solo Date seems in some ways to be in conversation with Spike Jonze's 2013
Handover Bodies in a Feminist Frame
Two Hong Kong Women Filmmakers’ Perspectives on Sex after 1997
Gina Marchetti
satisfaction. In recognizing this conundrum, Yau opens up other libidinous possibilities. She sifts through hybrid images loaded with imperial associations, racial connotations, gender stereotypes, and sexual innuendo. In fact, the main consumer, Nicole
Introduction
Visibility and Screen Politics after the Transgender Tipping Point
Wibke Straube
, instead of anxiously anticipating the often brutal exploitation of trans tropes, the naked body shots, the arc of lingering violence, stigmatization, objectification, and stereotypical narratives. In recent productions, such as The OA and Work in
Modernist Embodiment
Sisyphean Landscape Allegory in Cinema
David Melbye
. Two film examples come to mind immediately. The first is the postwar Western, Duel in the Sun ( 1946 ), in which a half-white, half-indigenous female protagonist (Jennifer Jones) embodies a moral conflict between stereotypically “civilized” frontier
Emma Celeste Bedor
stereotypically “unlady-like” behaviors today, such as having their nude photos taken by partners or taking these photos themselves. She explains that the Internet has led to the generation of a “new sexual contract” in which, the kind of freedoms associated
Monstrous Masses
The Human Body as Raw Material
John Marmysz
: 129). As with the female stereotype discussed above, such depictions are criticized for encouraging audiences to look at the male body as something with no inner life. In its “hardness” it is solid—like an inert “thing”—and even though depicted as
“There’s nothing makeup cannot do”
Women Beauty Vloggers’ Self-Representations, Transformations, and #thepowerofmakeup
Michele White
Technogenesis . Chicago : University of Chicago Press . 10.7208/chicago/9780226321370.001.0001 Hollingshead , Andrea B. , and Samuel N. Fraidin . 2003 . “ Gender Stereotypes and Assumptions about Expertise in Transactive Memory .” Journal of