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Violent Thresholds

Sights and Sounds of the Cinematic Baroque in Pascal Laugier's Martyrs

Lawrence Alexander

spectatorship. It is this notion of making an experience present to the outside world and the suggestion of an intersubjective relationship inter homines underpinning such an impulse that will continue to guide our consideration of representing painful

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Redefining Representation

Black Trans and Queer Women’s Digital Media Production

Moya Bailey

have interactions across the network not only with the two of them. Here, #girlslikeus has become intersubjective and tends toward decentralization. Though it tends toward this decentralization, it is significant to note that #girlslikeus—even in the

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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

flesh to the mediated experience: “While the live situation may enable the phenomenological relations of flesh-to-flesh engagement, the documentary exchange (viewer/reader <—> document) is equally intersubjective” (1997: 12). These two ways of

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“There’s nothing makeup cannot do”

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

Michele White

practice” (42). Cahill argues that differentiating between the “process and product of beautification allows us to isolate those aesthetic, inter-subjective, and embodied elements that empower rather than disempower women.” Beauty vloggers propose that