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Groped and Gutted

Hollywood's Hegemonic Reimagining of Counterculture

Samantha Eddy

structure ( Foucault 1989 ; Sawicki 1991 ). Dangerously, women and men who conform to these ideals see their identities validated in mainstream media, experiencing legitimization through representation ( O'barr 2011 ). For example, the most coveted

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Sade for Sade's Sake

Inside Paul Chan's Transmedial Laboratory

Olivier Delers

fascism. And Chan does not forget Michel Foucault's (1998) pronouncement that Sade is a “sergeant of sex,” the creator of regimented, repetitive, and ultimately boring sexual imagery. It is by teasing out elements from different intellectual approaches

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Redefining Representation

Black Trans and Queer Women’s Digital Media Production

Moya Bailey

conceptions. The system, while ardent in expressing a need for cultural competency in medicine, still fundamentally understands and measures the body in terms of a set point of normal cy, which it then uses to discipline and treat all bodies (Foucault 1977

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Linda Howell, Ryan Bell, Laura Helen Marks, Jennifer L. Lieberman, and Joseph Christopher Schaub

became disciplinary in Michel Foucault’s sense of the term. Building on the careful framework that he established in Part One, he argues that “when the history of networks articulates an imagined material form that crosses technology, biology, finance

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Bodies with Objects in Space through Screens

Casual Virtuality and the Self-Mediation of Laura Paolini's Constraining Aesthetics

Jakub Zdebik

( Foucault 1983 ). Figure 1. Laura Paolini, Sitting in a Chair (2019) (courtesy of the artist) Figure 2. Laura Paolini, Getting Out of Bed (film still, 2019) (courtesy of the artist) But perhaps what the furniture pieces represent is

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Ruined Abjection and Allegory in Deadgirl

Sol Neely

has become celebrated and dominant in Anglo-feminist critical theories. 3 My sense of “diachrony” here is informed both by Foucault’s notion of genealogy as diachrony and by Emmanuel Levinas’s notion of diachrony as tied to the saying and which

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“There’s nothing makeup cannot do”

Women Beauty Vloggers’ Self-Representations, Transformations, and #thepowerofmakeup

Michele White

.1177/1464700106064423 Bartky , Sandra L. 1988 . “ Foucault, Femininity, and the Modernization of Patriarchal Power .” In Feminism and Foucault , ed. Irene Diamond and Lee Quinby , 61 – 86 . Boston : North-eastern University Press . Ben , Esther Ruiz . 2007

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A Cinema of Movement

Michele Barker

enables us to consider new cinematographies emerging in documentary and artistic practice alike as a new kind of cinema of movement. Notes 1 Deleuze’s concept of surfing is introduced in relation to Michel Foucault’s shift from disciplinary

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Enactive Authorship

Second-Order Simulation of the Viewer Experience—A Neurocinematic Approach

Pia Tikka

Foucault, Jacques Derrida, and Seán Burke soon joined, still linger on (see Burke 2008 ). In film studies specifically, a tendency is to move discussion from single authorship (a film director) toward “collaborative and decentered” authorship, as Jason

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Pushing the Boundaries

Curating LuYang, a Global Artist Embedded in Local Situatedness

Nora Gantert and Malte Lin-Kröger

fixed selfhood in favor of malleable, self-created forms of subjectivity. Recalling Foucault's concept of “technologies of the self” and his ideas on the “art of living,” Oscar Bulaong Jr. remarks: “To create the self as a work of art points to self