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Akkadia Ford

devastating periods in twentieth-century gay and transsexual history, and Dallas Buyers Club serves as a powerful reminder of the historical and social backgrounds against which mainstream films continue the hegemonic stereotyping of narratives and

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Karen Carpenter and the Body-Martyr in Queer Memory

Julian Binder

Abstract

There has been much thought given to role of the body as a site of political, physiological, and cultural negotiation. What place then does the beloved and astonishingly affective singer of 1970s soft-rock, Karen Carpenter, occupy in this weighty discourse? Karen's death from complications related to her eating disorder in 1983 shocked the public, eliciting a new wave of cultural consciousness about the embodied nature of mental illness. But beyond the stereotypical white suburban Carpenters fan, Karen and her story had already become a cult favorite amongst the queer avant-garde as soon as four years after death, a mysterious phenomenon that I argue is decidedly queer in its emotional trafficking of Karen's subjectivity, among other areas. This essay explores the ways in which our bodies double as cultural repositories, as hallowed sites of memory, and as icons of martyrdom with the capacity to emit a healing resonance analogous to their fabricated religious counterparts. I must admit, this paper might also be guilty of occasionally engaging in the typical essentializing tendency toward Karen's personhood. For her sake then, reader, I ask you to ponder the following question with the same aversion to neat finality that you apply to your own story as you flip the page: who really was Karen Carpenter?

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On Sinofuturism

Resisting Techno-Orientalism in Understanding Kuaishou, Douyin, and Chinese A.I.

Yunying Huang

Western techno-orientalist stereotypes of China that characterize China as “exotic, bizarre, tacky, and cheap.” Domestic Chinese media, by contrast, often figure China grandly as heroic, stable, and historic. In his video essay, Lek exposes key stereotypes

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Lowry Martin

tourism and migration, his narrative decenters stereotypical notions of Arabic masculinity such as marrying, financially supporting a family, and protecting the family's honor. In both the cinematic and novel form, Salvation Army recounts Taïa's quasi

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Transitions Within Queer North African Cinema

Nouri Bouzid, Abdellah Taïa, and the Transnational Tourist

Walter S. Temple

problematic images associated with AIDS, prostitution, and gender stereotyping. 4 Further yet, these same films were in many ways haunted by a number of taboos imposed by a dominant and heteronormative film industry. One such example that comes to mind is the

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Voicing Pride and Futurity in the Age of A.I.

An Interview with Playwright Pao-Chang Tsai on Solo Date

Jing Chen and Pao-Chang Tsai

question because it's a constant struggle between creating a more specific label (such as a gender pronoun) and de-labeling all the unnecessary boxes and stereotypes. Chen: Solo Date seems in some ways to be in conversation with Spike Jonze's 2013

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Introduction

Toward a Queer Sinofuturism

Ari Heinrich, Howard Chiang, and Ta-wei Chi

further./By embracing seven key stereotypes of Chinese society (Computing, Copying, Gaming, Studying, Addiction, Labour and Gambling), it shows how China's technological development can be seen as a form of Artificial Intelligence.” 3 Conn (2020): 66 . A

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Introduction

Visibility and Screen Politics after the Transgender Tipping Point

Wibke Straube

, instead of anxiously anticipating the often brutal exploitation of trans tropes, the naked body shots, the arc of lingering violence, stigmatization, objectification, and stereotypical narratives. In recent productions, such as The OA and Work in

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The New Imitation Game

The Queer Sinitic Potentialities of Internet Romance Games

Carlos Rojas

Sinocentric assumptions can be similarly interrogated. This is important because, as Yunying Huang remarks in an article for this special issue, to envision equitable futures—and to avoid reinforcing stereotypes—we need more pluralistic understandings of

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Los Roldán and the Inclusion of Travesti Narratives

Representations of Gender-Nonconforming Identities in Argentinian Telenovelas

Martín Ponti

's assumption that “all transsexuals are male-to-female, and that all trans women want to achieve stereotypical femininity” (2007: 16). Serano further identifies two archetypes that most trans characters fit into. The trans character is presented as either the