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Los Roldán and the Inclusion of Travesti Narratives

Representations of Gender-Nonconforming Identities in Argentinian Telenovelas

Martín Ponti

by the celebration of Carnival that grants Laisa full participation within her community of neighbors and fellow family members. While her performance grants Laisa an opportunity to be visible, it is short-lived since the festivities of Carnival

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Groped and Gutted

Hollywood's Hegemonic Reimagining of Counterculture

Samantha Eddy

overrides the actual reality of racist performances” (2010: 126), allowing for the racist misrepresentation of nonwhite identities to frequently populate Hollywood productions. This is not to say that such misrepresentation is statically racist or sexist

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Handover Bodies in a Feminist Frame

Two Hong Kong Women Filmmakers’ Perspectives on Sex after 1997

Gina Marchetti

performances of the Vagina Monologues and participation in Hong Kong’s annual Lesbian and Gay Film Festival and in media arts organizations such as Videotage. 2 The years following the Handover in 1997 coincide with the growth of the World Wide Web and the

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Steven Eastwood

particular Dustin Hoffman’s performance, have become a popular shorthand for autism and savantism. However, such extraordinary abilities are rare in ASD. Instances of savant facility within autism are around 10 percent, only marginally higher than the general

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Jane M. Kubiesa, Looi van Kessel, Frank Jacob, Robert Wood, and Paul Gordon Kramer

, José Esteban . 1996 . “ Ephemera as Evidence: Introductory Notes to Queer Acts .” Women & Performance: A Journal of Feminist Theory 8 ( 2 ): 5 – 16 . 10.1080/07407709608571228 Muñoz , José Esteban . 2009 . Cruising Utopia: The Then and There

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Redefining Representation

Black Trans and Queer Women’s Digital Media Production

Moya Bailey

brown is deeply connected to the killing of Sakia Gunn and the attack on and incarceration of Cece McDonald, not because of his sexual practice or his identity or his performance but instead because Michael Brown, CeCe McDonald as well as other young

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Allison Macleod

main festival space throughout the four-day festival, to the inclusion of discussion panels and workshops alongside screenings, SQIFF emphasizes the performance of queer film culture as a communal and collective experience. As a space for

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Eliza Deac

, but also its performance: “Biological parcels moved across and up and down as if they were endless lists without copulas. We will passical the classical. You organize writing spaces by grouping them together on the screen, and by placing writing

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Andrew J. Webber

otherwise by her performances in casting. However, the look of the lead character helps to attach to the film the uncomfortable label of “beautiful,” as in the critical endorsement on the cover of the DVD: “A beautiful survival story, set against the dying

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Editorial

Situating Screen Bodies

Brian Bergen-Aurand

thought about gender and ‘otherness’ through its very form and content.” In the end, these performances open the productive potential at the intersection of “these two paradigms of film theory in tandem” to point toward what one might describe as a