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Akkadia Ford

Club is a feature-length film (117 minutes) classified as a “Biography/Drama/History” on the Internet Movie Database ( IMDb 2013a ). It relies on traditional Hollywood genre conventions, fictional narrative structures, and filming styles to convey the

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Situating Screen Bodies

Brian Bergen-Aurand

issues of sex work, the internet, and lesbian desire, and diverges drastically from Barbara Wong’s more staid documentary, Women’s Private Parts (2001), which relies on the televisual talking head interview and observational camera to highlight the way

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Brian Bergen-Aurand

screens. The journal considers moving and still images, whether from entertainment industries, information technologies, or news and media outlets, including cinema, television, the Internet, and exhibition spaces. It investigates the private experiences

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Redefining Representation

Black Trans and Queer Women’s Digital Media Production

Moya Bailey

Health Guide are but two examples of how Black queer and trans women use digital media to turn scraps into something precious (“A Herstory of the #BlackLives-Matter” 2014) . Like chitterlings, the discarded pig intestines of the Internet, can be reworked

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Before and After Ghostcatching

Animation, Primitivism, and the Choreography of Vitality

Heather Warren-Crow

dissemination through multiple media and its continuing life on the Internet through variations created by fans. Historically, animation has needed discursive constructions of racialized (and, I would add, infantilized and animalized) bodies as excessively

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Ling Tang, Jun Zubillaga-Pow, Hans Rollmann, Amber Jamilla Musser, Shannon Scott, and Kristen Sollée

consideration of interactive DVDs, Internet websites, video recordings, and other technologies now long surpassed might at first appear redundant, yet they offer a useful lesson in the innovative and creative ways in which technological forms are used to give

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Falling Apart Together

On Viewing Ali Atassi’s Our Terrible Country from Beirut

Ira Allen

democratic Syria. Perhaps it is fitting that the “Our Terrible Country film – The End” video has vanished now from the internet. All that remains of it, and that for the diligent searcher who knows what they are looking for, is a thumbnail-sized still image

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Jane M. Kubiesa, Looi van Kessel, Frank Jacob, Robert Wood, and Paul Gordon Kramer

’s description. Her delving into the history of queer presence on television is marked by her memories of growing up with these shows, painstakingly recovering ephemeral and fleeting objects with the help of friends, VCR, and the Internet. This personal approach

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

studies. Notably, Bollmer binds these areas of inquiry together by arguing against the presumption of interconnectedness. That is, he claims that “evidence of networks in nature is used to legitimate claims that the social connectivity of the internet

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Groped and Gutted

Hollywood's Hegemonic Reimagining of Counterculture

Samantha Eddy

. Film Selection by Box Office Gross. Source: Internet Movie Database Film Year Box Office Gross Scream 1996 $103,046,663 Freddy vs. Jason 2003 $82,622,655 Texas Chainsaw Massacre 2003 $80,571,655 I Know