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Transitions Within Queer North African Cinema

Nouri Bouzid, Abdellah Taïa, and the Transnational Tourist

Walter S. Temple

problematic images associated with AIDS, prostitution, and gender stereotyping. 4 Further yet, these same films were in many ways haunted by a number of taboos imposed by a dominant and heteronormative film industry. One such example that comes to mind is the

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Voicing Pride and Futurity in the Age of A.I.

An Interview with Playwright Pao-Chang Tsai on Solo Date

Jing Chen and Pao-Chang Tsai

question because it's a constant struggle between creating a more specific label (such as a gender pronoun) and de-labeling all the unnecessary boxes and stereotypes. Chen: Solo Date seems in some ways to be in conversation with Spike Jonze's 2013

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Introduction

Toward a Queer Sinofuturism

Ari Heinrich, Howard Chiang, and Ta-wei Chi

further./By embracing seven key stereotypes of Chinese society (Computing, Copying, Gaming, Studying, Addiction, Labour and Gambling), it shows how China's technological development can be seen as a form of Artificial Intelligence.” 3 Conn (2020): 66 . A

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Handover Bodies in a Feminist Frame

Two Hong Kong Women Filmmakers’ Perspectives on Sex after 1997

Gina Marchetti

satisfaction. In recognizing this conundrum, Yau opens up other libidinous possibilities. She sifts through hybrid images loaded with imperial associations, racial connotations, gender stereotypes, and sexual innuendo. In fact, the main consumer, Nicole

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Introduction

Visibility and Screen Politics after the Transgender Tipping Point

Wibke Straube

, instead of anxiously anticipating the often brutal exploitation of trans tropes, the naked body shots, the arc of lingering violence, stigmatization, objectification, and stereotypical narratives. In recent productions, such as The OA and Work in

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The New Imitation Game

The Queer Sinitic Potentialities of Internet Romance Games

Carlos Rojas

Sinocentric assumptions can be similarly interrogated. This is important because, as Yunying Huang remarks in an article for this special issue, to envision equitable futures—and to avoid reinforcing stereotypes—we need more pluralistic understandings of

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Modernist Embodiment

Sisyphean Landscape Allegory in Cinema

David Melbye

. Two film examples come to mind immediately. The first is the postwar Western, Duel in the Sun ( 1946 ), in which a half-white, half-indigenous female protagonist (Jennifer Jones) embodies a moral conflict between stereotypically “civilized” frontier

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Emma Celeste Bedor

stereotypically “unlady-like” behaviors today, such as having their nude photos taken by partners or taking these photos themselves. She explains that the Internet has led to the generation of a “new sexual contract” in which, the kind of freedoms associated

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Monstrous Masses

The Human Body as Raw Material

John Marmysz

: 129). As with the female stereotype discussed above, such depictions are criticized for encouraging audiences to look at the male body as something with no inner life. In its “hardness” it is solid—like an inert “thing”—and even though depicted as

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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

transgender personae to posit a state of being that powerfully defies any stereotypes” (2018: 137). The title of the artwork also functions as an antithesis: the uterus is part of the female body, and it is now associated with the word “man,” revealing the