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Groped and Gutted

Hollywood's Hegemonic Reimagining of Counterculture

Samantha Eddy

-Guzman (2016) terms this the “Hollywood Paradox”: seemingly, Hollywood emerges as a subject of diversification in mainstream media and yet the mechanisms of legitimate diversification—beyond tokenizing or stereotyping—are actively blockaded by Hollywood

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Close to You

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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Steven Eastwood

instead concentrated on embodiment, networks, relations, and patterns. Autism Defined Autism Spectrum Disorder (ASD) is a disorder that affects the development of social and communication skills and is characterized by stereotyped patterns of

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Redefining Representation

Black Trans and Queer Women’s Digital Media Production

Moya Bailey

, their fears of discrimination are often validated. In a 2004 study, researchers identified nine ways that providers contributed to disparities in care. These included unintentionally relying on stereotypes about racial groups, particularly when pressed

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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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Linda Howell, Ryan Bell, Laura Helen Marks, Jennifer L. Lieberman, and Joseph Christopher Schaub

globally distributed by a subscription-based video-streaming service. It seems to demand a sophisticated awareness of the ways that these new modalities influence not just the production of stereotypes, but the complex new circumstances in which they

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Handover Bodies in a Feminist Frame

Two Hong Kong Women Filmmakers’ Perspectives on Sex after 1997

Gina Marchetti

satisfaction. In recognizing this conundrum, Yau opens up other libidinous possibilities. She sifts through hybrid images loaded with imperial associations, racial connotations, gender stereotypes, and sexual innuendo. In fact, the main consumer, Nicole

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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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Monstrous Masses

The Human Body as Raw Material

John Marmysz

: 129). As with the female stereotype discussed above, such depictions are criticized for encouraging audiences to look at the male body as something with no inner life. In its “hardness” it is solid—like an inert “thing”—and even though depicted as

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Emma Celeste Bedor

stereotypically “unlady-like” behaviors today, such as having their nude photos taken by partners or taking these photos themselves. She explains that the Internet has led to the generation of a “new sexual contract” in which, the kind of freedoms associated