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Ling Tang, Jun Zubillaga-Pow, Hans Rollmann, Amber Jamilla Musser, Shannon Scott, and Kristen Sollée

” (93). She highlights the importance of performance and parody, which helps break down categories of male/female, masculine/feminine, gay/straight, and penetrative/receptive in the above-mentioned play. This process of categorical slippage is arguably

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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

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Monstrous Masses

The Human Body as Raw Material

John Marmysz

while it may be the case that the actual human beings who portray characters in film are beings-for-themselves—after all, they are always more than just the characters that they play—it does seem that once performances are completed and recorded in a

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“There’s nothing makeup cannot do”

Women Beauty Vloggers’ Self-Representations, Transformations, and #thepowerofmakeup

Michele White

are based on drag queens’ performances of femininity. Nikkie’s (2015c) power of makeup tutorial is a demonstration of “full on glam” and highly crafted femininity that is intermeshed with another face. This promotion of mutable physiognomy is not