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“There’s nothing makeup cannot do”

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

Michele White

-representations of women, femininity, and queerness because the producers convey different notions of self and physiognomy. These women’s online video self-representations and scholarly research in this area are important because, as Lindsey Wotanis and Laurie

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Affective Anachronisms, Fateful Becomings

Otaku Movement and the Joan of Arc Effect in Type-Moon's Transhistorical Anime Ecology

David John Boyd

-Woman and the Joan of Arc Effect: Overloading the Otaku Sensorium Within the Nasuverse many gender-sexuality queered, transhistorical “names of history” ( Deleuze and Guattari 2004b, 23 )—or, more accurately, what Lampert refers to as “not [those

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Akkadia Ford

substantive texts dealing with gay, lesbian, bisexual, transgender, intersex, queer themes and, in particular, a rarity in the mainstream of texts with transgender characters and narratives. In the three years since the film debuted, there have been mainstream

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

’s thirteen essays are well grounded in media theory and history as well as intersectional feminism. Kyra Hunting’s “All in the (Prison) Family: Genre Mixing and Queer Representation” takes a comparative approach in locating the generic roots of OITNB in a

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Guest Editor's Introduction

Phenomenology Encounters Cognitivism

Robert Sinnerbrink

; embodied spectatorship; aesthetics of “touch” (hapticity); gender and queer theories; and intersectional approaches. Whatever one's particular theoretical or practical commitments, however, it is worth noting that “applying” theory is not the same as

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Gary Bettinson

. Kis , Katalin . 2017 . “ The American Dream of Authentic Personhood: Homosexuality, Class, and the Normative Individual in U.S. Queer Male Impostor Films (1970–2009) .” European Journal of American Studies 11 ( 3 ). https