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Visibility and Screen Politics after the Transgender Tipping Point

Wibke Straube

City's Latinx and African-American LGBTIQ 1980s ballroom scene, coproduced by, among others, Janet Mock and Our Lady J, consists of a cast of mainly trans and non-binary actors, including MJ Rodriguez, Indya Moore, Dominique Jackson, and Angelica Ross

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Brian Bergen-Aurand

perfection of its own . Perhaps such a more complex “cognition of the senses” with regard to the study of screen bodies begins to arise from the evolution of feminist, LGBT, and queer theory in the 1980s. Perhaps, we can trace the percolation of those

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Falling Apart Together

On Viewing Ali Atassi’s Our Terrible Country from Beirut

Ira Allen

terrible country, indeed. “Our terrible country” is Syria, of course, but it could as well be Lebanon in the 1980s, or Yemen or Ukraine today, or any other land riven by revolution cum civil war cum proxy war. 3 Indeed, Atassi’s Syria is a terrible

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Redefining Representation

Black Trans and Queer Women’s Digital Media Production

Moya Bailey

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

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Transitions Within Queer North African Cinema

Nouri Bouzid, Abdellah Taïa, and the Transnational Tourist

Walter S. Temple

paramount importance. In this vein, audiences familiar with queer Western film will likely recall that during the 1980s, and arguably well into the 1990s, on-screen representations of homosexuality and same-sex relations were too often linked to