internationally, as a conflict based on race; another is the critiques of US militarism/imperialism in the 1960s. Is the classical phase really just one version of the genre available at every historical point? And parody as well? Do actual historical audiences
Search Results
Speculating about Spectatorship
Janet Staiger
Book Reviews
Margrethe Bruun Vaage and Gabriella Blasi
Indian and Indigenous Eco-activism,” combines Murray Smith’s theory of character engagement and critical race theory to analyze how some of the 2011 Native American Film and Video Festival (NAFVF) films “work to orient indigenous agency and activism” (228
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
Monstrous Masses
The Human Body as Raw Material
John Marmysz
extreme form when race is injected into the picture. From the perspective of the “white gaze,” black male bodies become threatening “things,” menacing in their darkness and symbolic of filth, danger, and animality. They are not truly human, he argues, but
Screened Bodies
Brian Bergen-Aurand
, feminism and masculinity studies, trans* studies, queer theory, critical race theory, class analysis, cyborg studies, and dis/ability studies. In addition to this introduction to screened bodies, volume 1, issue 1 of the journal features research articles
Book Reviews
Brenda Austin-Smith, Matthew Cipa, and Temenuga Trifonova
.g., postcolonial theory, race studies, globalization, gender studies, cultural studies). To her credit, Wheatley acknowledges feminist critiques of the heteronormative, patriarchal slant of Cavell's thought and his complicity in “a particular brand of American
Reviews
Jane M. Kubiesa, Looi van Kessel, Frank Jacob, Robert Wood, and Paul Gordon Kramer
science takes on the parental role and the future of the human race is brought into question. The final chapter, “Failed Futurity” by co-editor Andrea Wood, seems to answer this question as Wood assesses the lost future of the zombie child and the