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"The Theatricality of the Emulsion!"

Queerness, Tactility, and Abstraction in the Hand-Processed Films of Roger Jacoby

Benjamin Ogrodnik

This article reexamines the career of Roger Jacoby (1945–1985), an abstract painter and gay liberation activist who became renowned for processing film in his darkened bathtub and for films that featured his partner, Ondine, the Andy Warhol Superstar. Through a consideration of film shorts made in the 1970s and 1980s, the article argues that Jacoby’s principal innovation was the exploration of hand-processing, which resulted in films that resembled abstract expressionist paintings in motion. Additionally, it considers hand-processing as an overlooked, albeit powerful, vehicle for expressing non-normative sexuality in American avant-garde film. It situates Jacoby alongside gay filmmakers Kenneth Anger, Gregory Markopoulos, and Jack Smith, and considers how hand-processed media can generate a “corporealized” spectator and disrupt patterns of filmic illusionism and heterosexist protocols of sexual/gender representation.

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Los Roldán and the Inclusion of Travesti Narratives

Representations of Gender-Nonconforming Identities in Argentinian Telenovelas

Martín Ponti

Abstract

In Argentina, trans people have experienced extreme marginalization exacerbated by authoritarian dictatorships. Despite this history, since the return of democracy in the 1980s Argentina has witnessed legislative changes as an outcome of extensive trans activism. Travestis became more visible as they protested police brutality. Travesti mobilization brought more visibility, specifically within the media industries. To elucidate their participation in media, this article focuses on travesti celebrity Florencia de la V in Los Roldán (2004–, Telefe). I examine the representation of travestis on telenovelas and how fictional characters have an effect on structuring a star's career through the telenovelas’ ability to blur the distinctions between character and star. Ultimately, this article questions the introduction of mainstream audiences to gender-nonconforming characters through the industry's incorporation of travesti stars in relation to themes of scandal and domesticity. I build on the work of trans scholars Blas Radi and Lohana Berkins, who theorize travesti identities as politicized non-binary bodies.

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Akkadia Ford

“real” story of Ron Woodroof, who is portrayed as a heterosexual rodeo cowboy credited with establishing an HIV medications Buyers Club in Dallas in the mid-1980s after doctors gave him the bleak prognosis of having “about thirty days to live” ( Borten

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

and 1980s. Over the past ten years or so, companies such as Distribpix, Vinegar Syndrome, Tabu, and Wild Side have lovingly restored and released classics of the golden age of porn much to the glee of porn connoisseurs worldwide. This pocket of

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The New Imitation Game

The Queer Sinitic Potentialities of Internet Romance Games

Carlos Rojas

and most influential categories of romance games is the bishōjo 美少女 (“pretty girl”) genre that emerged in Japan in the early 1980s, which typically featured a male protagonist pursuing and seducing a va riety of attractive young women. In the mid

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Close to You

Karen Carpenter and the Body-Martyr in Queer Memory

Julian Binder

years after Karen's death, “Karen Carpenter, the iconography that she represented, became interchangeable with the public's understanding of eating disorders in the late 1970s and early 1980s.” In their view, Karen Carpenter became “‘that pop star who

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

—topics in the realm of sexuality in China. For example, in Chapter 2 Jacobs revisits the ghost-scholar romance movies of the 1980s and 1990s in Hong Kong, and argues that the feminist fulfillment of women’s sexual sensations, as well as women’s artistic and

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Allison Macleod

socialization, entertainment, education, and activism, SQIFF recalls the grassroots origins of queer film festivals that were first established in the late 1970s and 1980s as oppositional “safe havens” where queer communities could be formed and where queer

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Queer Sinofuturism

The Aberrant Movements and Posthumanist Mutations of Body, Identity, and Matter in Lu Yang's Uterus Man

Gabriel Remy-Handfield

boundaries of the media they use in their practice. 2 I am referring here to artists who were born in the 1980s and the 1990s. They possess distinctive interests and tastes, and their aesthetics are different from the aesthetics of previous generations born

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Sol Neely

attending such abjection. Next, I consider the film in light of what has come to be called “abject criticism” ( Tyler 2009 ), which emerged in the 1980s, stirred by Julia Kristeva’s ubiquitous Powers of Horror: An Essay on Abjection (1982) and Barbara