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Questions of Authorship

Some Comments on David Bordwell’s Narration in the Fiction Film

Paisley Livingston

is fundamentally wrong ( Foucault 1969 ; Love 2002 ; Rose 1993 ; Saunders 1992 ; Woodmansee 1984 , Woodmansee and Jaszi 1994 ). As one Foucault-inspired philosopher put this prevalent thesis, “all authorship is constructed, assigned, and

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The Cum Shot (Re)Interpreted in Terms of Contamination and Control

James K. Beggan

control of one's own body, it is possible to exert control over another's body. According to Michel Foucault (1977) , bodies are made to operate in response to signals that stem from systems of relationships that maintain order. From this perspective

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“The Rain It Takes to Learn the Limits of the Self”

Wetness, Masculinity, and Neoliberal Erotics in Andrew McMillan's Playtime

Nicholas Hauck

correspond and reply to the following three premises, which are inspired by Michel Foucault's work on neoliberal economies of the body and pleasure, and by contemporary discourse influenced by his work: (1) Neoliberalism shifts and intensifies the

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“Exfoliation, Cheese Courses, Emotional Honesty, and Paxil”

Masculinity, Neoliberalism, and Postfeminism in the US Hangout Sitcom

Greg Wolfman

Gill and Catherine Rottenberg in Conversation .” Feminist Theory 21 ( 1 ): 3 – 24 . doi: 10.1177/1464700119842555 . 10.1177/1464700119842555 Bartky , Sandra Lee . 1998 . “ Foucault, Feminization and the Modernization of Patriarchal Power

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“Undoing” Gender

Nexus of Complicity and Acts of Subversion in The Piano Teacher and Black Swan

Neha Arora and Stephan Resch

Michael Haneke’s The Piano Teacher (2001) and Darren Aronofsky’s Black Swan (2010) are films about women directed by men. Both films unorthodoxly chart women artists’ struggle with the discipline imposed on them by the arts and by their live-in mothers. By portraying mothers as their daughters’ oppressors, both films disturb the naïve “women = victims and men = perpetrators” binary. Simultaneously, they deploy audiovisual violence to exhibit the violence of society’s gender and sexuality policy norms and use gender-coded romance narratives to subvert the same gender codes from within this gender discourse. Using Judith Butler’s and Michael Foucault’s theories, we argue that Haneke and Aronofsky “do” feminism unconventionally by exposing the nexus of women’s complicity with omnipresent societal power structures that safeguard gender norms. These films showcase women concurrently as victim-products and complicit partisans of socially constructed gender ideology to emphasize that this ideology can be destabilized only when women “do” their gender and sexuality differently through acts of subversion.

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“Look at Me! I Can Change Your Tire”

Queer Female Masculinity in the Gym

Kristine Newhall

Michel Foucault's technologies of power and technologies of the self. Thus, in this project I examine the dialectical construction of Western gym space and the enactment of gender and sexuality within this space. Carrie's story is bounded by space; by

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Embracing a New Day

Exploring the Connections of Culture, Masculinities, Bodies, and Health for Gay Men through Photovoice

Phillip Joy, Matthew Numer, Sara F. L. Kirk, and Megan Aston

not stable or representative of one meaning ( Aston 2016 ; Foucault 1972 ; Grant and Giddings 2002 ; Perron and Holmes 2011 ; Rose 2012 ; Weedon 1987 ). Discourse goes beyond language to represent the interconnected systems of social meanings and

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Pain and the Cinesthetic Subject in Black Swan

Steen Ledet Christiansen

problematic to separate the two bodies; our lived experience of being-in-the-world is always shaped by Foucauldian biopower. Foucault defines biopower as the “numerous and diverse techniques for achieving the subjugation of bodies” (2012: 140). These

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“Banal Apocalypse”

An Interview with Author Ta-wei Chi on the New Translation of The Membranes

Jane Chi Hyun Park and Ta-wei Chi

“science fiction written in jargon.” Honestly, even in the 2010s most of the books by Julia Kristeva, Foucault, and Judith Butler remain untranslated in Chinese or remain inaccurately translated and unreadable in Chinese. I believe my students might tend

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The Politics of Revenge (Pornography)

Emma Celeste Bedor

Internet sties is not the classical male gaze but a post–third wave feminist punishing gaze because revenge pornography is not about sex but about revenge and humiliation. As a result, revenge pornography fits neither Foucault’s (1978) framework of a