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Looking for Something to Signify

Something to Signify Gender Performance and Cuban Masculinity in Viva

David Yagüe González

world is a stage, not multiple stages. Therefore, notions of race, nationality, or class were not considered until much later in the critical thinking process, until, that is, the introduction of queer of color critique. As Roderick Ferguson would

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Groped and Gutted

Hollywood's Hegemonic Reimagining of Counterculture

Samantha Eddy

's commitment to white-male authority. Molina-Guzman finds that Hollywood productions can be consumed by mixed-gender and mixed-race audiences for the purposes of maximum profit. Yet ultimately, the white-male imagination behind the screen leads to the

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“There’s nothing makeup cannot do”

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

Michele White

applications and the power of makeup to RuPaul’s Drag Race challenge, where contestants self-presented with half-drag and half-male faces. Nikkie (2015b , 2015d ) also contextualizes her practice as drag with tutorials based on RuPaul’s Drag Race

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Digitizing the Western Gaze

The End FGM Guardian Global Media Campaign

Jessica Cammaert

to divide, rather than unite, transecting as is often the case, existing ethnic, and class divisions (Cammaert forthcoming). And this is precisely what makes End FGM problematic—the allusion/ illusion that regardless of race, religion, class or any

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Introduction

Visibility and Screen Politics after the Transgender Tipping Point

Wibke Straube

. The series Pose is a fantastic example of how this might be slowly changing and how cultural spaces for alternative productions and diverse and intersecting positions between class, race, gender, and sexuality are emerging. Pose , featuring New York

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Los Roldán and the Inclusion of Travesti Narratives

Representations of Gender-Nonconforming Identities in Argentinian Telenovelas

Martín Ponti

gender-nonconforming people who are on the female spectrum. The term's intersectional aspect includes race and class as part of its deployment and definition, since travestis are racialized as nonwhite following their exclusion from educational and formal

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Allison Macleod

length, a queer history emerged that embraced intersectionality: between race, gender and sexuality; between found footage and constructed reality; and between the mainstream and the radical. In line with SQIFF’s self-identification as a Scottish queer

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Monstrous Masses

The Human Body as Raw Material

John Marmysz

extreme form when race is injected into the picture. From the perspective of the “white gaze,” black male bodies become threatening “things,” menacing in their darkness and symbolic of filth, danger, and animality. They are not truly human, he argues, but

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Emma Celeste Bedor

own content which challenges “the dominant discourses … of beauty, body type, age race, etc.” (Lehman 2007: 111–112) . White (2003) also highlights the liberatory potential of participatory Internet culture in her work on Internet “cam girls,” and

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Brian Bergen-Aurand

, feminism and masculinity studies, trans* studies, queer theory, critical race theory, class analysis, cyborg studies, and dis/ability studies. In addition to this introduction to screened bodies, volume 1, issue 1 of the journal features research articles