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Emma Celeste Bedor

own content which challenges “the dominant discourses … of beauty, body type, age race, etc.” (Lehman 2007: 111–112) . White (2003) also highlights the liberatory potential of participatory Internet culture in her work on Internet “cam girls,” and

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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

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Carl Plantinga

Spartans and the bad Persians. Figure 3. A hideous Persian giant roars like a beast before attacking the Spartans ( 300 , Warner Bros., 2007) Both race and sexuality work into this stark differentiation as well, as purity is designated to the

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Brian Bergen-Aurand

, feminism and masculinity studies, trans* studies, queer theory, critical race theory, class analysis, cyborg studies, and dis/ability studies. In addition to this introduction to screened bodies, volume 1, issue 1 of the journal features research articles

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Brenda Austin-Smith, Matthew Cipa, and Temenuga Trifonova

.g., postcolonial theory, race studies, globalization, gender studies, cultural studies). To her credit, Wheatley acknowledges feminist critiques of the heteronormative, patriarchal slant of Cavell's thought and his complicity in “a particular brand of American

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

science takes on the parental role and the future of the human race is brought into question. The final chapter, “Failed Futurity” by co-editor Andrea Wood, seems to answer this question as Wood assesses the lost future of the zombie child and the

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Transitions Within Queer North African Cinema

Nouri Bouzid, Abdellah Taïa, and the Transnational Tourist

Walter S. Temple

of the camera, which Fred throws against an abandoned boat that has washed ashore. Bouzid, whose camera’s transnational gaze does not discriminate against race or nationality, captures the very essence of Bezness, which is the omnipresent search for

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Akkadia Ford

-ed-how-transparent-tried-and-failed-represent-trans-men (accessed 30 November 2016 ). Keegan , Cael. 2015 . “ Race-ing as Temporal Dis/ability: Trans Futurism and Racial Mattering in the Films of Lana Wachowski .” Paper presented at the 8th Annual D.C. Queer Studies Symposium: Queer Speculations , 17

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Anxious Breath

An Autoethnographic Exploration of Non-binary Queerness, Vulnerability, and Recognition in Step Out

Lara Bochmann and Erin Hampson

recognize it too. Notes 1 All images in this article are taken from the short film Step Out (property of the authors). The film can be accessed here: https://vimeo.com/316172696 . 2 For example, race, ability, neurodivergence, and other forms

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Guest Editor's Introduction

Phenomenology Encounters Cognitivism

Robert Sinnerbrink

shaping our engagement with (popular) cinema and the manner in which it can serve as a powerful vehicle of ideological influence, especially with regard to key aspects of personal identity (e.g., gender, race, and class). Can cognitivist theories engage