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Handover Bodies in a Feminist Frame

Two Hong Kong Women Filmmakers’ Perspectives on Sex after 1997

Gina Marchetti

. 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

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Transitions Within Queer North African Cinema

Nouri Bouzid, Abdellah Taïa, and the Transnational Tourist

Walter S. Temple

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

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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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Steven Eastwood

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

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

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

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Peter Lurie, Antonio Sanna, Hansen Hsu, Ella Houston, and Kristof van Baarle

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

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Situating Screen Bodies

Brian Bergen-Aurand

offence which often targets females,” it is crucial here to acknowledge its special focus on “gender-based violence” and its citation of “Chapter 12 of the National Development Plan (NDP),” which “stipulates that ‘gender-based violence in South Africa is

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Jess Dorrance

fleeting moments of camp, pleasure, or provoked tensions as opposed to aspiring to more “permanent” interventions. As a mode of navigating relationships across histories, identities, and experiences, queer/trans messiness begins from the assumption that

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Close to You

Karen Carpenter and the Body-Martyr in Queer Memory

Julian Binder

schedule. That same day, Nixon addressed national radio and television audiences about the resignation and firing of a number of his advisors hours before the Carpenters took to the stage, where the President himself introduced Karen, Richard, and their

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Emma Celeste Bedor

National Geographic … Furthermore, I take it that if a husband or wife were to have sexually explicit photos or videos taken of himself or herself for the private viewing of his or her spouse, or if he or she were to perform live in sexually explicit ways