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-human technological (both physical and virtual) artifacts” ( Kim 2017: 235 ). In Lu Yang's strange posthuman universe, identities are not fixed but mutable, and they are mediated by new technologies. If posthumanism can be generally described as a reaction to humanism

Diesel, and Dwayne Johnson) demonstrate struggles over collective identities, and Asava reiterates what scholars such as Suzanne Bost (2003) have argued—namely, that the mixed figure also represents social crises over racial and national identity

. Hong Kong bodies serve as somatic markers of this geopolitical transition through the shaping of their outward appearances, physical locations, erotic expressions, and sexual identities. Cinematic depictions of these post-1997 Handover bodies as

University Press . 10.7312/boon15110 Lang , Robert . 2008 . “ Sexual Allegories of National Identity in Nouri Bouzid’s Bezness .” In North African Cinema in a Global Context: Through the Lens of Diaspora , ed. Andrea Khalil , 33 – 52 . London

on queer of color media production and artistic movements from the 1970s, 1980s, and 1990s, younger voices are creating innovative web series, visibility projects, and funding initiatives that reimagine mainstream narratives about their identities

schizoanalysis, I suggest that cinemautism might be adopted as a strategy for overthrowing the regulatory practices of cinema much in the way that schizoanalysis mounted an assault on the hegemony of psychoanalysis and the notion of uniform identity

and television time, which constitutes its viewers’ social time. The changing and intersecting narratives that constituted gay identities in the 1970s—which, as she argues along with Eve Sedgwick, were centered on the narrative of “coming out” (96

stasis (the fixity of an identity racialized as black). The Japanese actor Sessue Hayakawa figures prominently in Maurice’s discussion of the transition period from single-shot, non-narrative “attractions” to multi-shot films that evolved into narrative

hopes of meeting Alain's ghost in the underworld. The futility of Ho Nien's endeavors are revealed, however, when he learns his own surprising true identity: Ho Nien is actually himself an A.I. robot (also known as B46098) that is being used to model and

a standard view not only of “Chinese” society, but also of Sinocentric contemporary Taiwanese society. More generally, in addition to complicating assumptions about cultural, ethnic, and national identity, Nekojishi simultaneously crosses a