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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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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