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The Pure Moment of Murder: The Symbolic Function of Bodily Interactions in Horror Films

Steve Jones

Both the slasher movie and its more recent counterpart the “torture porn“ film centralize graphic depictions of violence. This article inspects the nature of these portrayals by examining a motif commonly found in the cinema of homicide, dubbed here the “pure moment of murder“: that is, the moment in which two characters' bodies adjoin onscreen in an instance of graphic violence. By exploring a number of these incidents (and their various modes of representation) in American horror films ranging from Psycho (1960) to Saw VI (2009), the article aims to expound how these images of slaughter demonstrate (albeit in an augmented, hyperbolic manner) a number of long-standing problems surrounding selfhood that continue to fuel philosophical discussion. The article argues that the visual adjoining of victim and killer onscreen echoes the conundrum that in order to attain identity, the individual requires and yet simultaneously repudiates the Other.

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Marissa C. de Baca

psychological space becomes a feminist interior. Through both Baober's domestic home and female body, Huang argues that these intimate spaces also evoke estranging sites or horror. Chapter 3 centralizes neither space nor body, but instead, excavates the

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Visibility and Screen Politics after the Transgender Tipping Point

Wibke Straube

Progress is a great example of a radicalized representation, most series still centralize predominantly white characters and continue to “isolate” the trans character among other cis characters, such as in The Chilling Adventures of Sabrina and The OA

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Ling Tang, Jun Zubillaga-Pow, Hans Rollmann, Amber Jamilla Musser, Shannon Scott, and Kristen Sollée

research on dispersed, drifting, and fragmented subjects from a non-centralized perspective, writing purposively without imposing clear boundaries, so as to contest diverse boundaries such as nationality, sexuality, and, undoubtedly, the definition of

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An Otaku with Chinese Characteristics?

Localizing Japanese ACG Currents in Lu Yang's The Beast

Fred Shan

Beast's impact on Chinese otaku communities because of how fast the Chinese cyberspace has evolved since the work's creation in 2012. The centralization of Chinese internet activity around a few platforms, such as Bilibili, Youku, and the blogging site

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Ruined Abjection and Allegory in Deadgirl

Sol Neely

”—which he situates within a genealogy of contemporary films “that centralize sexual violence,” arguing that it is the “lead victim’s zombidom” that gives alibi to the “relative cultural acceptability” of the sexual violence dramatized in the film (526

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The Eisenstein-Vygotsky-Luria Collaboration

Triangulation and Third Culture Debates

Julia Vassilieva

Revolution and its imperative of reshaping the world in a socialist mold. Although the period of state-sponsored experimentation had come to an end by the mid-1930s, under the shadow of Stalin's centralization of power and imposition of tight limits on

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Los Roldán and the Inclusion of Travesti Narratives

Representations of Gender-Nonconforming Identities in Argentinian Telenovelas

Martín Ponti

de la V's breakout character Laisa in the telenovela Los Roldán . Florencia became the first travesti celebrity in a leading prime-time role playing a travesti character. 6 I trace her character's story arc as it centralizes the main ideological

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Queer Sinofuturism

The Aberrant Movements and Posthumanist Mutations of Body, Identity, and Matter in Lu Yang's Uterus Man

Gabriel Remy-Handfield

that defines the personal and artistic identity of the creator also resonates with Braidotti's definition of a posthuman subjectivity, who characterizes it as rhizomatic rather than centralized: “A subjectivity without a centralized subject and ‘his