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Speculating about Spectatorship

Janet Staiger

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

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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

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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

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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

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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

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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

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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

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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

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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

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Transitions Within Queer North African Cinema

Nouri Bouzid, Abdellah Taïa, and the Transnational Tourist

Walter S. Temple

of the camera, which Fred throws against an abandoned boat that has washed ashore. Bouzid, whose camera’s transnational gaze does not discriminate against race or nationality, captures the very essence of Bezness, which is the omnipresent search for