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Peter Lurie, Antonio Sanna, Hansen Hsu, Ella Houston, and Kristof van Baarle

Alice Maurice, The Cinema and Its Shadow: Race and Technology in Early Cinema (Minneapolis: University of Minnesota Press, 2013), 288 pp. + 30 b&w photos. ISBN 978-0-8166-7805-1 (paperback, $25), 978-0-8166-7804-1 (hardback, $75). Reviewed

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Editorial

Situating Screen Bodies

Brian Bergen-Aurand

On the Cover Figure 1 Love Has No Gender, Race or Sexuality. Boitumelo and Collen. (August 2017) . This cover of Screen Bodies features a photograph by Collen Mfazwe entitled “Love Has No Gender, Race or Sexuality. Boitumelo and

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

sexuality, race, age, and suffering thread throughout the collection. In Growing Pains, writers consider Marilyn Monroe, Natalie Wood, and Harrison Ford as case studies in the suffering that comes with aging in Hollywood. While Monroe and Ford represent the

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Lieke Hettinga and Terrance Wooten

. Steinbock argues that sex “can be a site in which a felt sense of one's gendered, raced body can become sutured to an imperfect, wavering w/hole, not reducible to genitals or skin” (65). By exploring a medium heavily invested in the exposure of sex and

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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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Janet Staiger

internationally, as a conflict based on race; another is the critiques of US militarism/imperialism in the 1960s. Is the classical phase really just one version of the genre available at every historical point? And parody as well? Do actual historical audiences

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Margrethe Bruun Vaage and Gabriella Blasi

Indian and Indigenous Eco-activism,” combines Murray Smith’s theory of character engagement and critical race theory to analyze how some of the 2011 Native American Film and Video Festival (NAFVF) films “work to orient indigenous agency and activism” (228